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Full text of "Early Venetian printing illustrated"

EARLY VENETIAN PRINTING 

ILLUSTRATED 



EARLY 



VENETIAN 

PRINTING 



ILLUSTRATED 




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Vkmch: : FERD. ONGANIA — LoM.dv : JOHN C. NIMMO 
\p:\v Vonk: CHARLES SCRIBNER'S SONS 
M.DCCC.XCV. 




THE PUBLISHER 

RECALLING THE INSTRUCTION TO EXAMPLE 

OF THE GLORIOUS PAST 

DEDICATES THIS WORK TO THE 

ILLUSTRIOUS MEMORY 



OF 



ALDUS MANUTIUS 






This ■li.'ork ivas printed in Venice, and the following 
misprints have been noticed : 

Dedication, /or "to" read "and." 

Page 7, col. ii., 1. g-jo, for " deephy-regret without . . . 
assume " read " deeply regret without .... assume.'' 
,, 8, col. ii., 1. 5, for "predecessor" read "predecessors." 
,, 14, footnote/or "pubblished" read "published." 
„ iS, col. ii., 1. 14, for " whith her weel " read " with her 

wheel." 
„ 19, col. i., 1. 34, for ■• tan " read " than." 
„ 24, 1. 26, for " ornamentes" read "ornaments." 
„ 218, col. i., 1. 5, for "gild" read "gilt." 





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NOTE BY THE VENETIAN PUBLISHER 



^ 



T'il^' HISTORY OF THE ART 
OF PRINTING, studied in its most 
valuable examples, shojvs clearly how the 
work of the early printers took, from the 
very commencement^, a national and also 
a personal character. These are recogni- 
sed by the modern student in the special 
forms of type ivhich they employed, and 
in the character of the ornaments and 
vignettes with which they decorated their 
editions; xvhich thus formed, as it were, 
a species of art-work countersigned by the 
particular conditions of date, place and 
genius. Every early edition, with its i>a- 
rious characteristics of siie, type and or- 
namentation, is thus, not merely a trade 
specimen, but also an historical and artist- 
ic docimient, agreeing in character with 
the arts of design, the social customs and 
the literary tastes in vogue at the period 
in question. The early German printing, 
with its rigid and angular types and its 
Gothic ornaments, is perfectly suited to 
an age and to a country still mediaeval, 
and the Italic type of Aldus Manutius is 



equally suited to the calm and elegant 
classical character of the art of the Re- 
naissance. Volumes with wide margins., 
large type and eccentric engravings tell 
of the pompous magnificence which found 
favour in the seventeenth century and of 
which that century has left so many spe- 
cimens in our libraries. 

We therefore cannot but deephy reg- 
ret-jvithout, however pretending to assmne 
the office of censor — that in our days 
books are sent out, even from the most 
celebrated printing offices, xvithout that 
characteristic mark of national typography 
and without those true and peculiar forms 
of art which should always accompany 
the work of the printer, just as it should 
that of the author. Anyone who has a 
keen sense of what is beautiful and appro- 
priate feels offended at the sight of a book 
of which the typographical form is out 
of harmony in its literary constitution ; 
and how displeasing to the eye is the 
reproduction of ornaments and vignettes 
of foreign style in works of a distinctly 



8 



national character. It is now a general models. On the other hand, the craftsmen 

custom among publisher to introduce vig- of the present day cannot be compelled to 

jtettes, often more or less artistic, but la- make special researches in libraries in 

ken from foreign works, the blocks being order to study the work of their great pre- 

acquired at third or fourth hand and at a decessor. Our present intention is to tneetthis 

low price, sometimes even by weight, to want,by offering to the public a book which 

spare them the trouble of new and origi- may serve as a pattern to the printer and as 



nal illustrations for their 
books. Hence arise confu- 
sion of style, want of har- 
mony in the xvork and gen- 
eral debasement of the ty- 
pographical art jphich our 
early printers held in such 
high esteem. 

How many publishers 
have there not been in Italy 
who in preference to their 
mere personal interests have 
studied the dignity and ad- 
vancement of the printer's 
art, and have maintained it 
on an equal footing with 
the other arts of design. 



Authors who have written on the 
Venetian Press. 

FuLiN R. — Documenti per servire 
alia storia delta Tipograjia Veiie- 
^iaiia — Venezia, 1882. 

Castellani C. — La stampa in Ve- 
necia, dalla sua origine alia morte 
diAldo Manu^io, seniore. — \'enezia, 
F. Ongania, 1889. 

Due DE RivoLi — Etude sur les li- 
vres a figures venitiens de la fin du 
XV Steele et du commencement du 
XVI. — Paris, 1889-90. 

Idem — Bibliograpliie des livres a 
figures venitiens de la fin du XV 
Steele et du commencement du XVI, 
I46(j-i325 — Paris, 1892. 

Horatio Brown — The Venetian 
Printing Press. An Historical Study. 
London, 1S91. 

Arte Italiana Decorativa e Indu- 
striale - Anno I, pag. 84 — Venezia, 
F. Ongania, 1891. 



a document to the student; a 
book which may help to re- 
new the beauty of typogra- 
phy by collecting by trust- 
worthy methods of repro- 
duction examples of the 
founts, ornaments and vi- 
gnettes xvhich adorned the 
most highly priced ancient 
books. We begin with the 
origin of printing in Italy 
and take Venice as the first 
city. Such a publication , 
entirely new and original , 
will gratify and assist those 
printers among us who love 
their art, and those intelli- 



The noble works of those old craftsmen, gent bibliophiles who are students of the 

particularly of the Venetians, supplied ma- artistic industries, the ancient glory of 

terialfor the historical monographs ofFu- Italy. The low price of the book, consider- 

lin, Castellani, the Due de Rivoli, Brown ing the importance and value of the ma- 

and others, which are valuable for study terial, will enable it to be widely diffu- 

but almost useless for practical purposes, sed, and to produce those fruits which the 

The history of the art of printing cannot publisher predicts and which the Art of 

serve as a model to printers, except when Printing has a right to expect in a period 

it is amply furnished jvith specimens of of culture and tearing such as this, 
ancient work to be used as patterns and Ferd. Ongania. 



^ 



N. B. — The Publisher begs to give notice that his principal object being to exhibit the decorative portion of 
printed books, he has considered it convenient to add for the completion of some of the pages, a few capital letters 
and ornaments from works of secondary importance, but of the same period and by the same printer. 

A few frontispieces have been reduced from their original size to meet the requirements of the present volume. 



THE ART OF PRINTING 



AT VENICE 



DURING THE ITALIAN RENAISSANCE 



^ 



PRINTING WAS introduced into Ve- 
nice by John of Speyer, in the year 
1469, and the first book which he 
printed was the Epistola' ad familiares of 
Cicero: 

« Primus in Adriaca formis impressit aenis 
Urbe libros Spira genitus de gente Joliannes, » 

he says at the end of this edition. In the 
same year 1469 John of Speyer published 
the Storia naturale of Pliny, in a great 
folio volume, a stupendous typographi- 
cal work (i) and a second edition of the 
Epistolce ad familiares. He then began 
to print the work of S. Augustine De Ci- 
vitate Dei, but was unable to complete it, 
as he died suddenly at the end of that 
year. His brother Windeiin having finish- 
ed and published this work in 1470, 
recorded in the colophon how death had 
cut short his brother's work, and an- 
nounced his own succession, adding that 
he was not inferior to his brother in the 
art and that he had taken up his residence 
in Venice. 

« Vindelimux adest iusdem frater et arte 
Non minor, hadriacaque morabilur urbe. (2) 

The press of Vindelinus was most 
active; in the year 1470 alone he publish- 



(il The Councillors who signed the privilege grant- 
ed to him for five years, (i8 September 1469I recognized 
this by saying: n liiipressit Epistolas Ciceronis et nobile 
opus Plinii De Naturali Historia in niaximo numero et 
pulcherima litterarum forma. » 

(2) As will be perceived this verse is >too short by 
a foot. 



ed seventeen works, then from that year 
up to 1477 editions of Latin and Italian 
authors followed one another in large 
numbers, many being editiones princi- 
pes, as of the Latins: Virgil, Sallust, Mar- 
tial, Quintus Curtius, Priscian, Cicero De 
naiura deoriim and De officiis; of the Ita- 
lians: the Cauionieve del Petrarca and 
the Divina comedia de Dante Alighieri 
with the commentary of Benvenuto da 
Imola. 

The two printers of Speyer printed 
in a very beautiful round character made 
in imitation of the best Italian manuscripts 
and especially of the antiphonaries and 
other choral hooks of the churches of Ita- 
ly. Windeiin also cut Gothic type, having 
as early as 1471 published in fine gothic 
characters the work of Panormita : Pars 
secunda Lecturae in secundum librum 
Decretalium (Panzer III. p. 73, n. 35). 

In 1470 two other printers established 
a press in Venice, a Frenchman and a 
German, who afterwards became most 
celebrated : Nicholas Jenson of Somme- 
voire(Champagne)andCristopher Valdar- 
fer of Ratisbon. Jenson, a master in one 
of the French Mints (i) by applying the 
art of engraving coins to that of cutting 
types, formed a character known as round 
Roman, not very unlike that used by John 
and Windeiin of Speyer, but sornewhat 
more regular and elegant, such, in fact, 



(I) It is not certain whether of Tours or of Paris. 



10 



as became commonly regarded as the fi- 
nest character of its kind ever used by any 
printer of any nation. 

In 1470 Jenson issued four editions: 
Eusebii prcepavatio evangelica ; Rhetori- 
corum libri ad Herennium ; Justini Epito- 
matci; Ciceronis Epistolce ad Atticum (\)\ 
editions considered as so many master- 
pieces of the printer's art. He also cut 
Gothic type, especially for works of Canon 
law, the first printed being the Codex De- 
cretorum 1474, a large folio volume of 
389 leaves; and this type was so fine that 
it was generally imitated, by other print- 
ers, both in Italy and abroad, being cal- 
led the Venetian or greater Gothic. For 
these things Jenson was deservedly pro- 
claimed, even by his contemporaries, the 
Prince of printers, and Pope Sixtus IV 
created him Count Palatine (2). He printed 
up to September 1480, the year of his 
death, having somewhat earlier entered 
into partnership with John de Colonia 
and others (3). 

Christopher Valdarfer printed in Ve- 
nice in 1470 and 1471", his first edition 
was the De oratore of Cicero, and it was 
most admirably printed. Bat among his 
various editions by far the most celebra- 
ted is that of the Decamerone di Boccaccio 
of which only three copies remain (4), of 
which only one is perfect, namely the one 
in the Spencer library (5). 

To the band of excellent printers who 
were at work in Venice in the first decade 
after the introduction of printing are to be 
added the already mentioned John de Co- 
lonia and John Manthen de Gerretshem, 



(i) As the month and day are not indicated in the 
colophons of these editions, it is not easy to say which 
was the first, but it is generally believed to' have been the 
Prceparatio evangelica. As to the edition of the Decor 
puellarum with date MCCCCLXI, about which there was 
so much discussion among bibliographers of the last cen- 
tury, it is now generally admitted that an X is missing in 
the date, and that, consequently, the edition must be ascri- 
bed to the year 1471. 

ul Perhaps more because he had printed many ec- 
clesiastical books and works of Canon Law, than for the 
excellence of his typographical productions. 

(3' Several editions even of 1481 and 1482, and there- 
fore posterior to his death, bear in their colophons: a In- 
dustria et expensis Johannis de Colonia, Nicolai Jenson, 
Sociorumque. » His will (7 September 1480) is given in full 
in: Castellani, La stampa in Venecia dalla sua origine alia 
morte di Aldo itanu^io Seniore, Venice 18S9, P. 85 etc. 

(4) The loss of almost all the copies' is believed to 
be principally due to the anathema pronounced by the 
Court of Rome against this work of Boccaccio. 

(5i Purchased by the Marquis of Blandford at the 
Roxburghe sale in London 1812, for L2,26o sterling, equi- 
valent to 56,5oo Italian lire. 



the former having printed from 1471 to 
1482, the latter from 1473 to 1480; Erhard 
Ratdolt of Augsburg, who together with 
Bernard Pictor (Maler) of ,'\ugsburg and 
Peter Loslein of Langenzan (Langenzenn, 
Bavaria) as corrector, published the first 
books decorated with ornaments, borders 
and foliated initials. He printed from 1476 
to 1480 in the above partnership, then 
alone from 148010 i486. The native print- 
ers of Venice did not fail to compete in 
this new art. As early as 1472 Filippo de 
Pietro(Philippus Petri or Philippus quon- 
dam Petri, Venetus) printed first in part- 
nership with Gabriello Pietro of Treviso, 
then alone. His founts rival in elegance 
those of the above mentioned printers. 
Printing was also carried on at that time 
in some of the monasteries as in that of 
the Franciscans (« nel beretin convento ») 
from whence appeared in 1474 the Opera 
chiamata Fiore de virtu. 

But Venetian typography owes its 
great fame still more especially to Aldus 
Alanutius; above all for his celebrated 
editions of the Greek classics. Born in 1450 
in the little district of Bassiano near Vel- 
letri (i) instructed in Greek and Latin first 
in Rome by Gasparo Veronese and Do- 
mizio Calderino, then in Ferrara by Bat- 
tista Guarini; he came to Venice in 1489 
with the intention of establishing a print- 
ing office to be chiefly devoted to the pub- 
lication of Greek works. Of these very 
few had been printed before that time, all 
of them in Italy in Milan, Vicenza, Venice 
and Florence. 

He therefore began by publishing in 
1494 the Hero and Leander of Musaeus 
and the Galeomioinachia, another poem at- 
tributed to Theodorus Prodromus; books 
which were, as he said in the Greek pre- 
face to Musaeus, the precursors of the great 
sages of Greece (2). Indeed, in 1495 ap- 
peared the first volume of the works of 
Aristotle in most beautiful Greek charact- 



(i) He took first of all the name of Romano, then 
that of Pio out of homage to the princes Pio di Carpi, Al- 
berto and Leonello, who had been his pupils. In modern 
times he is called Aldus Senior to distinguish him from 
his grandson Aldus, son of Paul, hence called Aldus Ju- 
nior, who was himself a printer as his father Paulus Ma- 
nutius, the son of Aldus Senior, had been. 

(2I The editions of these two poems are without date, 
but were certainly printed before the Greek grammar 
of Lascari, which is the first among the editions of 1495. 



1 1 



ers (i) followed by four other volumes 
between 1495 and 1498. Then from year 
to year, up to February i5i5, the year of 
his death, there appeared from his presses 
almost all the most important works which 
Greece has transmitted to us, and it was 
apparent in all that the exquisite art of the 
printer was united to the profound know- 
ledge of the scholar: assisted however by 
a band of learned Italian and foreign hu- 
manists, whom he had been wise enough 
to collect around him, and to hold united 
in the bonds of an Academy (2). 

He also printed Latin and Italian 
works: in i5oi Virgil, m which for the 
first time is seen that slanting character 
which he called chancery and afterwards 
cursive or italic, cast by Francesco da Bo- 
logna, as Aldus himself states in some 
verses placed below the preface (3). 

Among the Italian editions that of the 
Canionitre del Pctravca i5oi, is the most 
notable, having been composed, as he af- 
firms in the preface, from the author's own 
manuscript; and that of the Divina come- 
dia, i5o2, the first edition in a small size 
■ — the former editions having been all in 
folio — ornamented with the anchor, the 
typographical device which he had recent- 
ly adopted (4); and lastly, in 1409 the 
Ipiernlomachia di Polifilo, or La pugna 
di amove /;/ sogno di Polifilo (Francesco 
Colonna, the Dominican) an edition in 
which the splendour of the illustrations 
is matched by the excellence of the type. 

Aldus, however, was not the only 
one in Venice who was printing Greek 
books at that period. In 1498 Gabriele 
Bracci ot Brisighella (Brachius Brasichel- 
lensis) printed in partnership with others 
an ^sop in Greek and Latin. The edition 
of the Eiymologicon Magnum issued in 



and therefore they are to be attributed to 1494. See Re- 
nouard Atwales de I'lmprimerie des Aides, 1834, p. 258. 

(1) The fount of^ the character cut for Aldus and 
used in this edition of the Aristotle, had really also served 
for the editions of the two poems published in the prece- 
ding year. See the preceding note. 

(2) The list of Hellenic and humanistic scholars who 
were members of the famous Aldine Academy is given by 
Morelli in Aldi Pii Manutii scripta tria, dem'io edtta et il- 
lustrata. Bassani 1806. 

|3 Panizzi in his pamphlet, Chi era Francesco da 
Bologna? maintained that he was the famous Bolognese 
painter and goldsmith Francesco Raibolini, called Francia. 

U) it appeared for the first time in the first volume 
of the foetce cliristiani of June i5o2, whilst the Dante bears 
date August i5oi. 



1499 by Zacharia Callergi of Rhetymno in 
Crete, at the cost of Nicholas Blastos, and 
under the editorship of Marco Musuro, is 
also noteworthy. It is a large folio vol- 
ume, sumptuously printed with borders 
and with large initials of every letter of 
the alphabet in red at the beginning. 

VV'hile Venice was collecting together 
all that was most celebrated in typogra- 
phy, movable metal types for printing fig- 
ured music were invented, and used there 
for the first time. Ottaviano de Petrucci of 
Fossombrone, an apprentice at the end of 
the fifteenth century in one of the printing 
houses of Venice, had the idea of also 
printing music (which up to that time 
had been printed from wooden blocks, 
intarolature) with movable types like 
those used for letters, and obtained a pri- 
vilege from the Signoria for his invention 
(25 May 1498). A few years after (i5oi- 
i5o2) the first music prmted by the new 
method appeared and consisted of: Canti 
B inimero cinquauta ; Harmonicce musi- 
ces Odhecaion. Thereupon several other 
Venetian printers began to print music: 
Lucantonio Giunta, Ottaviano and Giro- 
lamo Scoto, Melchiorre Sessa and Andrea 
Antico. But it seems that none of them 
adopted the system of Petrucci in printing 
music, for Francesco Marcolini, a celebra- 
ted printer and an admired writer, in a 
request to the senate (i July i536) drawn 
up to obtain a privilege for printing mu- 
sic, wrote: « It is about thirty years since 
the time of Ottaviano da Fossombrone, 
who printed music in the form in which 
letters are printed, and it is about 25 years 
since that method has been discontinued. 
Not only Italy but likewise Germany and 
France have tried to recover this system, 
and have been unable to do so. « The 
privilege was granted to him for ten 
years (i), and his first issue was: Intabo- 
latura di Liiito di Alesser Francesco di 
Milano Veneiia per Francesco Marcoli- 
ni, 1 536. 

But while Marcolini was renewing 
the art of Petrucci for printing music, the 
French printer Antoine Gardane came to 



(i) The request with the subsequent concession of 
the privilege was published for the first time in the work 
already quoted : Castellani, La stampa in Venecia, p. 83, etc. 



12 



Venice and founded a printing office which 
rapidly became the most celebrated and 
the most productive of musical works in 
all Italy. He likewise obtained from the 
Signona a privilege for ten years (i). On 



the death of Antoine the printing press 
was carried on by his sons Angelo and 
Alessandro. Music was also printed about 
that time, in Venice, by Ricciardo or Riz- 
zardo Amadino and Jacopo Valenti. 



II. 



Venice, the second city in Italy to re 
ceive the printing press (2) was, during the 
second half of the fifteenth century the 
chief and most important emporium of 
typographical productions. From 1469, 
the year in which printing was introdu- 
ced, up to the end of the century, more 
than 200 presses were at work in the city, 
and the volumes which were issued from 
them must have exceeded a million. But 
what renders the Venetian typography of 
that time most noteworthy and glorious 
is the quality of its productions. The cha- 
racters used by the printers of the first 
decade after the introduction of printing : 
John arid Windelin of Speyer, Nicholas 
Jenson, Christopher Valdarfer, John de 
Colonia, John Manthen of Gerretzhem, 
Philippus Petri and Erhard Ratdolt, are 
such models of regularity and elegance, 
that later printers may indeed have been 
able to imitate but never to surpass them. 
And in those early works the other cons- 
tituent parts of the book, the excellence of 
the paper, the symmetrical composition 
and justification of the text, the broadness 
of the margins and the clear and uniform 
impression, correspond to the beauty of 
the type. And, further, the books were 
ornamented with foliated initials, orna- 
ments and borders, and lastly with vig- 
nettes illustrating the text. From 1476 on- 
wards we find that in almost all the books 
the initials are artistically arabesqued or 
foliated, and sometimes ornamented with 



(i) Antoine Gardane was himself a musician; in the 
concession of the privilege appears: « Ad Antonio Gar- 
dano, musico francese, sia concesso quanto per la suppli- 
catione soa el domanda. » Cf. Brown, Venetian Printing 
Press, London 1891. p. 108. 

(il Although printing was done in Subiaco before it 
was done in Rome, n in venerabili Monasterio Sublacensi, » 
the few editions printed there by the two German printers, 
Sweynheym and Pannartz, are regarded as Roman for 
they removed shortly afterwards to Rome with their print- 
ing presses. Cf. Andififredi, Catatogus Romanarum editio- 
num saeculi XV, p. i. 



figures or emblems. It seems as though 
the printers would no longer suffer their 
printed books to be less beautiful than 
those in manuscript, in which the initials 
are usually in gold and colours. At the 
same time the frontispieces, title or first 
pages began to be adorned with orna- 
ments, borders or cornices, in architectur- 
al or fantastic designs, printed on a black 
or white ground or coloured in red. 

The first to use woodcuts as decora- 
tions in printed books were the aforesaid 
Erhard Ratdolt and his partner Bernard 
Pictor [i). The Calendario del iMonteregio 
(Johann Miiller of Konigsberg) 1476, has 
its title enclosed on three sides by a border, 
in an admirable style : from two vases to 
right and left spring twisted branches with 
spiral foliage, which going up to the top 
surround a circle intended for a shield. 
The text is illustrated by mathematical 
diagrams delicately engraved. About 1477 
Ratdolt and Bernard Pictor published the 
Appianus,Z)^ bellis cii'ilibiis Romanorum, 
and the work of Coriolano Cepione Dal- 
mata, Petri Mocenici Imperatoris gesto- 
riun libri tres ; both these editions have 
an arabesque border on the first page, 
designed with great taste and finely en- 
graved. In 1480 there appeared from the 
press of Ratdolt (no longer in partnership 
with Bernard Pictor) the Fasciculus tem- 
porum of the Carthusian Werner Role- 
wink : it has some views of cities and 
buildings, among which is the ducal pal- 
ace; in 1482 came the Poet icon Astrono- 
fnicon of Hyginus wherein appeared, per- 
haps for the first time in Italy, polychro- 

(i) It is a tolerably well-founded opinion that Rat- 
dolt's partner, Bernard Pictor, executed the designs of the 
decorations (V. Passavant Peintre-graveur, i. i35) while 
the engraving is said to have been done by a workman 
brought from Germany, where the art of wood engraving 
was already flourishing. Cf. Lippmann, Italian Wood en- 
graving in the Fifteenth Century London 1888, p. 66, En- 
glish Edition. 



i3 



matic figures or prints in various colours. 
It was reprinted by the same Ratdolt in 
1485. More noteworthy is a small quarto 
volume containing the works of the Flor- 
entine Jacopo Publicio; Oratorice artis 
epitomata, Ars memorice, Ars epistolan- 
di, published in 1482. 

The Ars memorice has a curious al- 
phabet, the letters are enclosed in white 
circles on a black ground, each letter being 
accompanied by an emblem designed to 
impress it on the memory; at the end of 
the volume is a table divided into 25 squa- 
res, corresponding to the 25 letters of the 
alphabet, and in each square there is a 
bird or a fish or some other emblematic 
animal. 

Ratdolt having thus issued the first 
editions with various woodcut ornaments, 
is considered as the initiator of the deco- 
ration of books (i). 

Somewhat later the custom of illu- 
strating the text with vignettes was intro- 
duced (2). The first specimen of this de- 
corative art as applied to books or of 



(i) The Due de Rivoli in his important and valuable 
work, Bibliographie des livres afignres venitiens p.XXllI etc. 
makes the decoration of books begin with John of Speyer, 
that is to say in the very year of the introduction of print- 
ing, and adduces as a proof the Pliny of 1469, which, he 
says, is adorned with a woodcut border on the first page. 
And still earlier Delaborde (le Vicomte Henri Delaborde 
La gravure en Italic avant Marc Antoine, i452-i5o5, Pa- 
ris 1882: forming part of the Bibliotlieqiie internationale 
de I'art, p. 252) had placed the origin ot Venetian wood- 
cutting in the year 1471, the year m which the Valerius 
Maximus was printed by Windelin of Spejer, since he had 
found some woodcuts in a copy of this edition. I think that 
the two illustrious writers must have taken for engravings 
belonging to the impression and contemporaneous with it, 
those which were afterwards added for the ornamentation 
of the particular copies which they examined. The Mar- 
ciana library possesses two copies of the Pliny and two of 
the Valerius Maximus and thev are all without woodcuts. 
And, indeed, Kristeller, (La Xilografia vene^iana, in the 
Archivio Storico dell'arte, Anno V (1892) fasc. 11, p. g5 etc.), 
having examined furthet examples of works from the same 
press between those of 1409 and 1473, and having perceived 
that some have engravings, and others have not, comes to 
this conclusion: « The engravings were not printed at the 
same time as the types of the book, but were added later: 
the printers therefore have nothing to do with these engra- 
vings. » Such an opinion from a most competent authority 
seems to me to be final. But as the same cannot be said, 
respecting the engravings which adorn the first edition of 
Ratdolt, seeing that these really belong to the impression 
and are contemporaneous with it, we must needs acknow- 
ledge that this printer was the true initiator of the decora- 
tion of books ; and as a matter of fact, he is recognised as 
such by Brunet [Manuel du Libraire, etc, I, col. sSy), and 
by Lippmann , in his above-mentioned work, Italian 
Wood- Engraving, p. 69. 

(2) V. Lippmann, o. c. p. 63 etc. Due de Rivoli o. c. 
passim ; Due de Rivoli et Charles Ephrussi, Notes sur les 
Xylographes Vcnitien du XV et du Xvisiecle. Extr. from 
the Gazette des Beaux-Arts, III. 3ieme Periode (1890, 
p. 494 etc.i R. Fisher, Introduction to a Catalogue of the 
earty Italian Prints in the British Museum, London 1886, 
cap. X.K and .X.Xl « \'enctian Books of the fifteenth Cen- 
tury illustrated with Engravings », p. 3i3, etc. 



these illustrated editions is found in the 
Devote meditaiioni di S. Boiiai'eiilura, 
« Stampate in Venetia per Mathio di co- 
deca (Capo di Casa) da Parma, » 1489, 
This precious book contains eleven wood- 
cuts representing scenes of the Passion in 
a style distinctly Venetian. In the same 
year was primed Nicolai de Lyra Poslilla 
with 38 plates of biblical subjects, engra- 
ved, it would seem, by the same hands 
as the woodcuts of the Devote mcditaito- 
ni. These two books were, so to say, the 
precursors of one of greater artistic im- 
portance, the Italian Bible of Nicola Ma- 
lermi (a monk of S. Matteo di Murano, 
born in 1422), printed in 1495 by Giovanni 
Ragazo for the publishing house of Lu- 
cantonio Guinta. The frontispiece displays 
a great square in which are represented 
the seven days of the Creation, enclosed 
in a border of architectural design ; the 
text is intercalated throughout with small • 
vignettes, designed with extraordinary del- 
icacy, and almost all of them finely en- 
graved (i). In like manner the first page 
of the Sphaera miindi of Sacrobosco (John 
of Holy wood) 1490, by an unknown print- 
er, but « mandato et expensis Octav. Scoti 
Modoetiensis, » has the first leaf occupied 
by a square in which Astronomy is re- 
presented enthroned under a starry sky 
between Urania and Ptolemy; and it was 
perhaps executed from a design of Bellini 
the elder. 

The edition of the work of Beato Lo- 
renzo GiustinianoDe Vitamonastica, 1494, 
without a printer's name but perhaps by 
the brothers De Gregoriis, has on the first 
leaf the image of Beato upright in the act 
of walking towards a church, preceded by 
an acolyte; and is composed in the same 
manner as the picture of St. Lawrence by 
Gentile Bellini, painted for the church of 
S. Maria dell'Orto, afterwards S. Cristo- 
foro (now in the Academy, corridor n.° i3). 
It is an engraving in simple outline of im- 
posing eflfect. The same brothers De Gre- 
goriis published the Latin Herodotus in 
1494. The first page has a magnificent pil- 
lared cornice printed in white relief upon 
a black ground; in the upper part, besides 



(i) Many of these vignettes are signed with a small 
b, a signature which recurs in other later engravings al- 
most continuously for about a century, and it has not yet 
been possible to give any definite interpretation of it. 



M 



the initial letter delicately arabesqued, He- 
rodotus is seen seated at a table, while 
Apollo is placing a crown of laurel upon 
his head. This is perhaps the finest exam- 
ple of decorative art applied to books in 
that period. 

Not less noteworthy however is the 
Italian Ovid of 1497, (a translation of the 
Metainorf hoses hy G\o\anni d\ Bonsignore 
of Citia di Castello), printed by Giovanni 
Rosso upon commission for Lucantonio 
Giunta. It is a small folio volume illustra- 
ted with 59 cuts in which the compositions 
are harmoniously arranged, the figures 
being well drawn in the manner of the 
School of the Bellinis (i). 

The brothers De Gregoriis already 
frequently mentioned - who were, indeed, 
at the end of the fifteenth and beginning 
of the sixteenth century the great produ- 
cers of illustrated books - published in 
1495, in a folio volume, the Italian version 
of the work of the German physician, Jo- 
hann Ketham, (then resident at Padua) en- 
titled Fasciculus mediciuce together with 
a little treatise by Pietro da Montagnana, 
a Paduan doctor. This volume has five 
plates in outline which cover the entire 
page, executed with the greatest technical 
perfection, while the noble attitude of the 
figures, magnificently designed, would 
seem to show the hand of Gentile Bellini. 

The « Dialogo de la Sancta Cathe- 
rina Inipresso in Venetia per Mathio di 
codeca MCCCCLXXXIII a di XVII de 
maio », shows on its first page Saint Ca- 
therine enthroned, having on either side 
two kneeling saints ; at the top is God in 
glory between a saint and a cherubim. 
Other plates of equal excellence adorn the 
book. The fables of ^sop were illustra- 
ted in several Venetian editions from 1490 
to 1493, all of them being in small quarto 
form. The illustrations passed from one 
edition to another; in that of 1493: « Ve- 
neiiis per ManJ'redum de Monteferato de 
Sustrevo, » has on the first page ^sop 
seated at a table, dictating to a scribe who 
stands at his feet, with auditor at the 



(0 The engravings in this Ovid, like those of many 
other works pubhlished at that time, are found reproduced 
in later editions, even during the first decades of the follow- 
ing century, it is not only evident that the blocks served 
for the reprints, but that they sometimes passed from one 
printer to another, or from one publisher to another. 



sides. Every fable is illustrated with little 
engravings elegantly designed. 

The Supplementum Chronicarum of 
Bergomensis (Giovanni Filippo Foresti of 
Bergamo,Augustinian friar) by Bernardino 
Benali 1493, contains views of the princi- 
pal cities of Europe and biblical pictures 
of the Old Testament, which render this 
book somewhat remarkable. 

The folio Terence of 1497 ^'y Simone 
de Luere, produced at the cost of Lazaro 
Soardi, has on the leaf behind the title: 
« Terentius cum tribus commentis videli- 
cet Donati Guidonis et Calp/iurtiii, » a 
large square in which Terence, crowned 
with laurel, is sitting under a canopy in 
the centre of a pillared hall; six commen- 
tators stand at the sides, that is to say be- 
sides the three already mentioned, Ascen- 
sio and Servio and a sixth who is un- 
known. Another picture is at the back of 
folio B. Ill in which the interior of a 
theatre is represented, the spectators are 
seated on benches looking at an actor who 
stands on the stage with his face towards 
them ; underneath are the words Colisevs 
sii'e Theatrum. The entire text is inter- 
calated with small woodcut vignettes. 

The Legende de sancti Cnmposte per 
el rererendissimo padre frale Jacobo Vo- 
ragine del ordine de /rati predicatori ar- 
civescovo di Genova, traducte de Latino in 
lingua vulgare pel venerabile misser don 
Nicholao de manerbi veneio del ordine 
comaldulense Abbate del monasterio del 
sanctn Mathia de Murano, were printed 
in 1494, by Matteo Codeca, on commis- 
sion for the publishing house of Giun- 
ta, and are all ornamented with engra- 
vings similar to those of Malermi's Bible. 
The kindred work: « Vita di sancti pa- 
dri /lisloriata, if is likewise intercalated 
with similar vignettes; but in this work^ 
after three leaves there is a large picture 
within a cornice, one of the most singular 
line engravings on wood. On a ground 
covered with verdure and flowers, under 
a trellis work, lies a martvr stretched on 
a bed, his arms are bound, and a woman 
is bending over him; here and there are 
portraits of other martyrs and other mar- 
tyrdoms. In 149 1 the Dii'ina commedia 
was produced in Venice in an illustrated 
edition by Bernardino Benali and Matteo 
da Parma ; it was ornamented with a large 



i5 



plate to each cantica and a vignette to each 
canto. These engravings were reproduced 
in many later editions. For instance in 
that of 1497 " Impressa in Venetia per 
Piero de Zuanne di quarengii da palazago 
bergamasco. » The first illustrated Vene- 
tian edition of the canioniere del Petrarca 
is that of Bernardino da Novara of 1488. 
The engravings of the illustrations to the 
Trionfi are copied from those in the Flo- 
rentine edition by Botticelli. 

An edition still more remarkable fol- 
lowed in 1490; that of Pietro Veronese, 
in which the engravings are delicately 
shaded after the manner of those of the 
Florentine edition but more skilfully. 
Perhaps they are the most beautiful among 
the many which adorn the great fantastic 
work of that illustrious poet. 

But the illustration of books reached 
its highest point in the Ipnerotomachia di 
Polifilo, 1499 (V supra p. 7) And truly the 
numerous engravings which adorn this 
book mark the highest point to which the 
art of wood-engraving attained at the end 
of the fifteenth century in Venice, and such 
is the perfect execution of the drawing 
from which these engravings were made, 
that it may be reasonably believed that 
the hand either of Giovanni Bellini or of 
Jacopo deBarbari (i) is to be seen therein. 

It is certain that the wonderful en- 
gravings, combined with perfect typograph- 
ical execution, render this book one of 
the most admirable and precious that 
have ever issued from the presses of any 
printer (2). In the early years of the six- 
teenth century engraving as applied to the 
illustration of books took a new form. 
Having almost entirely abandoned linear 
or shadowless drawing the art turned to 
Chiaroscuro. Its inventor in Italy was 
believed to be Ugo da Carpi. And, indeed, 
in a request to the senate (25 July i5i6) 
he took the credit of being the inventor, 
asking a privilege for his invention. « I 



(i) The author of the famous colossal view of Venice. 
Lippmann (o. c. p. i36) believes that in general the des- 
igner of the numerous engravings which adorn Venetian 
books between 1460 and i5oo is Jacopo de Barbari. But 
wether he was a German or an Italian is stiil an unsolved 
problem. His surname was Walch and as there was a 
printer at Venice in 1479 named Georgius Walch, it is con- 
jectured that he was the father of Jacopo, who may have 
had the name of Barbari from a Venetian mother, and 
that he was born in Venice. 

(2) See Albert Ilg, Ueber den kunsthistorischen Wertli 
der Hypnerotomacliia Poliphili, Wien 1872 8vo. 



discovered a method, » he said « of print- 
ing in light and shade, a new thing never 
before attempted » (i). It is certain that 
the engravings which illustrate the texts 
of books about that time are almost all in 
chiaroscuro or shaded. That was the pe- 
riod in which a large number of breviar- 
ies, missals, offices of the Virgin and of 
the saints, were printed, whereby Venice 
became the emporium of ecclesiastical 
and ascetic books, just as at the same pe- 
riod the kindred production of Horce or 
Livres d'heiires formed a special branch 
of industry in Paris. Now the decorations 
of these Venetian impressions are gener- 
ally according to the Chiaroscuro meth- 
od, of which Ugo da Carpi declared 
himself the inventor. Several of these en- 
gravings bear the name of Hugo, but many 
others that of Giovanni Andrea (Zoan An- 
drea), to which the signature Z. A. cor- 
responds, and which perhaps denotes Gio- 
vanni Andrea Vavassori, called Guada- 
gnino or Vadagnino (2). 

This Giovanni Andrea published in 
1 5 1 6 : Opera nova contemplatipa per ogni 
fidel Christiana^ on the system of the an- 
cient xylographic prints. It contains the 
series of the events in the Old and New 
Testament in wood-engravings and the 
textual explanations are likewise engra- 
ved ; it is in short a kind of Biblia pau- 
perum, similar to that which was so fre- 
quently produced before the invention of 
printing (V. Cicognara Catalogo ragionato 
di opere d'arte, vol. I, n. 1992). He pub- 
lished further La conversione di S. Maria 
Madalena et la pita de Laiaro et Maria 
in nttapa rima historiata, composta per 
Maestro Marco Rasilia da Foligno. In 
this book on the first page below the title, 
which is in black and red, Christ is seen 
preaching to a crowd of women who are 
seated, and men who are standing behind 
them. Under the stool upon which Jesus 
is resting are the words : « Sovan (sic) An- 
drea de Vavasori ». And this is perhaps 



(i) v. Fui.iN, Document! per servire alia storia delta 
tipografia Venc^iana, Ext. from the Arch, veneto, t. .XXIII 
p. I. 1882) p. log etc. 

(2) Cf. Fisher, Introduction to a catalogue of the early 
Italian Prints in the Britisli Museum, Mundon 1886, p. 47, 
where every notice respecting this draftsman, enj;raver, 
printer and bookseller is adduced and examined. Cf, fur- 
ther: Due de Rivoli et Charles Ephrussi, Zoan Andrea et 
ses liomonymes , Ext. from the Gazette des Beaux Arts 1891. 



i6 



the only place in which Giovanni Andrea 
reveals his name. Later on in conjunction 
with his brother Florio, he printed aFor- 
midario di lettere amorose. The names of 
Zoan Andrea and Ugo da Carpi are also 
found in some spellmg books and books 
of calligraphy, e. g. in the Thesauro de 
scrittori, opera iniagliata da Ugo da Carpi 
(i523) and in the Regola di S. Benedetto, 
a stampata in Venetia per Maistro Andrea 
de Rota de Leucho, i525, avente Fimagine 
di S. Benedetto. » 

Benedetto Bordone, who styled him- 
self « miniator, » published in i528 at the 
house of Nicolo Zoppino the Libro nel 
quale, si ragioua di tutte le isole del mon- 
do; reprinted in i532 with the title Iso- 
larioj in which many islands are repre- 



sented in line engraving, especially those 
of the Archipelago ; a most remarkable 
work for that period. 

Printers devices were also the object 
of artistic ornament. The mark, general- 
ly, when it was not limited to the mono- 
gram, reproduced the sign of the book- 
seller's shop; thus that of Bernadino Be- 
nali represents S. Jerome with the lion by 
his side; that of Tacuino da Tridino has 
S. John the Baptist with the lamb at his 
feet; that of Benedetto Bindoni has the 
archangel Raphael with Tobias ; that of 
Nicolo d'Aristotele called Zoppino repre- 
sents S. Nicholas. Very fine indeed is that 
of Bernardino Vercellese, which stands in 
the middle of the first page of his edition 
of the Enneadi del Sabellico, 1 504. 



Carlo Castellani. 



^ 



PRINTERS' MARKS. "> 



The earliest books printed at Venice have no mark; 
the first printers were satisfied by stating in tlieir colo- 
phon that the work proceeded from their own press. 

The first printer's mark appeared in the editions 
published in 1481 by a society of printers establislied in 
Venice towards the close of the life of Jenson, (who died 
in September 1480 (2). The head of this society was John 
de Colonia and its chief printer was Johann Herbert of 
Seligenstadt. Jenson entered the society and his name ap- 
pears in its colophons even after he was dead: « Exactum 
insigne ac praeclarum hoc opus ductu et auspitiis Joannis 
de Colonia, Nicolai Jenson, Sociorumque. . . huiusce au- 
tem operis artifex extitit summus in hoc arte magister 
Johannes de Selgenstat alemannus... Anno vero millesimo 
CCCLX.WI tertia nonas Aprilis; » appears in the colo- 
phon to the Rosarium Decretorum of Guido di Baysi. Be- 
neath the colophon is the mark, which is of remarkable 
simplicity and elegance; it consists of a white circle on a 
red ground crossed in the middle with a horizontal line 
from which rises an upright bar cut above the circle by 
two transverse lines so as to form a double cross; a white 
point appears in the lower part of the circle. (Vide fac- 
simile p. 45). It is not clear what such a mark can have 
signified; the obvious explanation seems to be that the 
circle standing for the terrestrial globe, and being sur- 
mounted by two crosses, the mark was the symbol of the 
Christian world and of the rule of Christianity over the 
universe (3). 



(I I Printer's marks are to be found reproduced chief- 
ly in the following works. Rothscholtz, Tltesaurtis sym- 
bolarum ataue, emblematum, id est iiisif^nia typof^raplio- 
rum ac bipliopolanim, Norimbergae 1730, fo 1. ; Orlandi, 
Origine c pt-ogrcssi delta .■itampa. Bologna 1722, (p. 228 
etc); Tosi, Facsimile di alcune imprese di stampatori ita- 
liani, Milano i838; Ris-Paquot, Dictionnatre encyclope- 
dique des marques et monogrammes, Paris (1890), Vol. II, 
4to. But upon this question of printers' marks the chief 
work to be consulted is that of Paul Kristellcr. /J(> italic- 
nischen Buchdnicker und Verleger^eichen bis t555. Sirass- 
burg, 1893. fol. 

|2| V. Castellani, La Stampa in Venecia dalla sua ori- 
gine alia Mortc di Aldo Manuzin Seniore. Venezia, Onga- 
nia, 1889; in which is shewn tlie exact period of .lenson's 
death and his will is quoted in extenso. 

(3) Farnetica il Delalain (Inventairc des Marques d'im- 
primeurs et libraires. Au Cercle de la librairie i88')-i887l 
says that this is the symbol of the church triumphant, 
and that the booksellers and printers used to place their 
books in this manner under its protection. This idea cor- 
responds neither to the form of the emblem nor to the 
views of that time, and still less to the views of the 
printers and publishers who preferred putting their pro- 
ductions under the protection of a privilege from the au- 
thorities of the place where the book was printed; though 
they sometimes added the Pope's privilege as well. 



The mark which is seen for the first time in the edi- 
tions of the firm of John de Colonia and partners, recurs 
in editions issued by other printers, not only of Venice but 
of almost all the other cities of Italy, from that time up 
to about the middle of the following century. It did not 
therefore remain the distinctive mark of that firm or of 
any printing office, but became, as it were, the general 
emblem of the typographic art, to the greater ornamenta- 
tion of the books, (i). As a matter of fact the early print- 
ers' looked upon themselves as artists; and the beauty of 
their type and the symmetrical arrangement of every part 
of their books rendered them worthy of such a title. As 
they sometimes adorned the first pages with ornaments or 
borders, and introduced initials remarkable fortheir exquis- 
ite engravings, and as they gave account of their work in 
colophons drawn up by eminent writers, frequently in 
verse, either Latin or Italian according to the language of 
the printed text, (2) so likewise they were desirous that a 
graceful mark artistically designed and coloured should 
present itself to the reader at the end of the book. 

But if from the beginning that mark was adopted as 
the common emblem of the printer's art, only a short time 
elapsed before it became appropriated to certain printers 
and publishers by the insertion of their initials. Andrea 
de Torresani and Bartolomeo de Blavis, who printed in 
partnership m 1483, used that mark in their editions of 
that year, but added their joint initials in the segments of 
the circle. The same was done by the Arrivabene and by 
almost all the other printers and publishers. But later on 
the mark lost its primitive simplicity : the circle indeed 
predominated, but it took various forms, principally the 
heart-shaped or oval. 

To the mark which was the emblem of the art jof 
printing in general, or which became distinct and indivi- 
dual by means of the initials, there was added later one 
that was entirely restricted to the printer or publisher. 
Marks of this kind which we may call personal, consist 



(r) It seems that John de Colonia made use '!of this 
mark for the editions which he had issued in Germany 
before removing to Italy, and, in that case, it would have 
been originally the mark of his press or of his publishing 
house, it has however remained the universal typographic 
mark or emblem, perhaps owing to the Christian conceit 
which it contained. 

(2) In general the colophons were made by the cor- 
rectors for the press who were always selected from am- 
ong the good writers. 

Antonio Cornazzano, Raffaele Zovenzoni, Nicola Ogni- 
bene called il Leoniceno, and other important learned and 
literary men of the period, were correctors for the press. 



i8 



cither of a monogram, often artistically engraved, or of 
the arms of their native city, or of a design symbolic of 
their personal name. 

Lucantonio Giunta, a Florentine, used as his particu- 
lar mark the lily of Florence; Lichtenstein of Cologne 
used the imperial eagle, and Benedetto Fontana a fountain. 
And it is by these marks that we know the publisher of 
a book even when his name is not mentioned in the colo- 
phon. The printers usually introduced their names with 
the words n per » o arte et industria, » « industria et stu- 
dio, » and similar forms; and the publisher gave the m- 
formation that they had borne the expenses of the edition 
in the words : « iussu, » « impendio, n « ad instanza, » etc. 

But sometimes the colophon is silent respecting the 
name of the publisher, who then has recourse to the 
method of adding his own mark or the sign of his house 
or bookshop. Many of the editions which Lucantonio 
Giunta caused to be executed by the various printers of 
the city, (for it was only in later years that he had a press 
of his own) do not bear his name, but only the lily, either 
on the first or the last page of the volume, and it is by this 
we known that the edition was issued by Lucantonio. 

Allessandro Calcedonio of Pesaro caused a cons- 
iderable number of editions to be printed on his own ac- 
count, between 1493 and 1304 (i), but only in three did 
he have his name inserted ; they are known, however, by 
the mark, which is an angel. 

Some printers and editors adopted as their mark an 
emblem or svmbol, that is to say, a figure or image which 
might represent the sentiment or principle which governed 
and guided their work. 

The first who adopted a mark of this kind was I be- 
lieve Aldus Manutius the Elder, who adopted the anchor 
with the dolphin and the legend — « festina lente ; « mean- 
ing thereby that in order to obtain good results from one's 
work, it is desirable to act with rapidity, (represented by 
the dolphin), but at the same time with firmness and reflec- 
tion — (represented by the anchor), both qualities being 
united in the words « festina lente. (2). Besides the marks 
above described, it was customary to use the emblems or 
signs of the office, warehouse or shop, where the book could 



(I) \'. Fli.in, Dociimcnti per servire alia storia della 
tipografia Venc^iana /torn tJie Arclnvio Veneto, t. X.XIII, 
part". I. 1 1 882), n. 12, i5, 53,93, 107. 

2I This axiom was attributed to Augustus, but the 
emblem is believed to have been taken from coins of Ti- 
tus, Vespasian, and Domitian. Aldus himself, when dedi- 
cating the Sfcra di Proclo (1499I to the princes of Carpi, 
said: c( Sum ipse mihi optimus testis, me semper habere 
comites delphinem et anchoram; nam dedimus multa 
cunctando et damus assidue.n The mark appeared for the 
first time in the Poetcv Christiatii veteres of June i5o2, 
then in the Dante of August i5o2; and from that time it 



be obtained.This practice ofgiving emblems or signs to shops, 
warehouses, offices and similar industrial e.-;tablishments 
was then usual in France, especially in Paris. When intro- 
duced into Italy the printers and publishers soon adopted 
it, and marks of this kind are found in editions from the 
end of the fifteenth century onwards, Bernardino Benali 
adopted S. Jerome as his sign, and mentions it in the Ser- 
mons ofS. Bernard (undated but printed at the end of the 
fifteenth century), saying: « Impresse in Venetia per Ber- 
nardino Benali in Merzaria : tien per insegna sancto Ge- 
rolamo. » 

Alessandro Bindoni's sign is Justice ; that of the Flo- 
rentine Girolami Biondi is the Phoenix; of Lorenzo Lorio 
da Portese, S.Catherine whith her weel ; of the Paganini, 
S. Peter; of Battista de Pederzoni of Brescia, an elephant 
and castle ; of Filippo Pincio da Caneto of Mantua, S. An- 
tony the Hermit; of the Rusconi, S. George; of Giovanni 
Antonio da Sabio and his brother, a Dragon ; of Torre- 
sani, a tower; of Bernardino de' Ferrari, called Stagnino 
da Trino, S. Bernard; of Giovanni da Trino, alias Tacui- 
nus, S. John the Baptist; of Antonio Zanchi of Bergamo 
the gate of the city of Bergamo; and of Bartolomeo de Za- 
nis of Portese, S. Bartholomew. 

Printers, who at first printed on their own account, 
in process of time printed only on commission either for 
publishers or booksellers; then the marks served to shew 
the share which others had taken in the edition rather 
than the work of the printer. But those printers who con- 
tinued at the same time to he publishers, or, in other 
words the publishers who had a printing establishment of 
their own, frequently put two marks, the one a general 
typographic mark, and the other that of their own office, 
placing the former on the first page and the latter at the 
end of the volume. This was done by Giovanni Battista 
and Melchiorre Sessa, whose particular mark is a cat with 
a mouse in her mouth; and by Giorgio Rusconi and his 
successors, who, while they do not fail to end the book with 
the ordinary typographic mark, place their own sign, that 
is to say, S. George, on the first page and below the title. 
But, in general, from the beginning of the sixteenth cen- 
tury, it began to be the custom to transfer the mark or 
sign from the last page to the first, -placing it near the 
title of the work; a position which it has ever since retain- 
ed and which it occupies even at the present day, whene- 
ver either editors or printers decorate their volumes in 
that manner. 



is found in all the editions of Aldus and his successors. 
Cf. Renouard, Annales de V iinpritnerie des Aides, third 
edition, 1834, page 34; but he is under the erroneous im- 

gression that the mark appeared for the first time in the 
ante. 



^ 



WATER-MARKS. 



It' any one places the leaves of early Venetian books 
against the lii;ht he perceives an almost innumerable va- 
riety of signs or figures, which are, as is well known, the 
marks of the paper-mills where the paper \\'as made, (i) 
Such signs and figures are also called filigranes because 
they are the result of the net-work of metallic wires ar- 
ranged at the bottom of the mould which contains the 
pulp. It is said that Pace da Fabriano was the first to in- 
troduce into Italy, and to be 
exact, into his native city, the 
art of making paper with flax or 
rags; but it is not certain in what 
year this took place. There can 
be no doubt, however that the 
art was already known and prac- 
tised in the East as early as the 
XII or XIII century; for it is a 
fact attested by paper MSS of 
that period which still survive. (2' 
From the East it passed to the 
West, and first of all to Spain, 
where the manufactories of Xa- 
tiva , \'alencia and Toledo car- 
ried on a flourishing business. It 
appears therefore, that it was 
Pace de Fabriano who brought 
from Spain to the town of Fa- 
briano the art of making paper 
from flax or rags. Tiraboschi 
(Storia d. Letter, ital t. \', p. 901 

believes that the paper-mills of Fabriano date from 1276, 
but the earliest documents in the civic archives of that city 
which have been ascertained to consist of flaxen paper, do 
not go further back tan 1297. 

A few years after Fabriano had commenced the ma- 



ll I v. Domenico Urbani, Sep^ni di cartiere antiche, Ve- 
nice 1870 a work containing ten plates, eight of which 
refer to Venetian printed books, one to water-marks in 
leaves of Paduan MSS of the XIV and XV centuries, and 
one to the designs of Paduan paper-mills. 

|2) Lambecius, Comment, bibl. Ccesarece, t. V p. 75, 
edit. KoUar, describes a paper MS existing in the Impe- 
rial Library at Vienna, of the jear logS, but this MS is 
not in flaxen paper but rather m paper made from bom- 
bazine or gossypium. But MS 54 class i of the Library of 
S. Mark (though it isseriouslv damaged by damp) contain- 
ing the gospels in Greek, and generally considered to be of 
the XII century, and certainly not later than the XIII, is 
of paper, and although the weaving of the paper has not 
yet been microscopically examined, still at first sight it 
presents all the characteristics of flaxen paper. 




nufacture of flaxen paper, this industry was started in Pa- 
dua and Treviso, doubtless with workmen who had prac- 
tised it in Fabriano. This must have been at the end of 
the XIV century; and first of all in Padua, so that this 
city must be considered as the second in Italy which exer- 
cised the art of manufacturing paper of this kind (v. Glo- 
ria, Territ.padovatiu, III, p. 1 10 . From Padua it was trans- 
ferred shortly after to Treviso on account of the copious 
currents of water in that dis- 
trict. (I) 

Everything conduces to the 
belief that the Venetian printers 
brought the paper for their books 
chiefly from the paper mills of 
Padua or of Treviso. The water- 
mark which is most frequently 
observed in \'enetian books is 
the balance in its many varia- 
tions of form both in the scales 
and in the supports. The bull's 
head also, with various convolu- 
tions of the horns, and with great 
variety in the figures which are 
placed between the horns, often 
occurs. Then too there is the fig- 
ure of the hat with various in- 
terlacings of the cords. Besides 
these watermarks the booksprlnt- 
ed at Venice show from time to 
time other figures, such as the 
imperial crown and the royal crowns, the glove, scissors, 
ladder, 'standard, shield of arms, castle, crescent, cross- 
bow, strung bow with its arrow, crossed arro^ifs, crossed 
swords; and the cross; and then, the horse, the bull 
and other animals. Now all these signs as water-marks 
are peculiar to the mills of Padua and Treviso. This cir- 
cumstance added to the fact of the close relations and easy 
communication between Venice and those cities strengthen 
the supposition that the Venetian printers brought the 
paper for their books chiefly from those mills. 



|i) Professor Bailo has discoursed eruditely on the 
papermills of Treviso, when publishing, on the occasion 
of the marriage of Brunelli Devlde, a letter of Monsignor 
Rambaldo degli Azzoni Avogaro (12th November 17731 in 
reply to one from Tiraboschi requesting information on 
the subject. 



^ 



THE PRINTING OF MUSIC 



In Venice during the fifteenth century music was 
printed both plain and figured by the xylographic system, 
that is to say by means of blocks cut in relief. In the MS 
of the Discorso della musica antica e modema di Vincenjo 
Galilei, which is preserved in the library of the Liceo Mu- 
sicale of Bologna, there is a note in the handwriting of 
Ercole Bottrigari, a Bolognese musician and mathemati- 
cian of the sixteenth century, to this effect: «I possess 
Canzoni and Barzellette in books printed at Venice as 
early as 1480 >> but at the end of that century Ottaviano 
de Petrucci da Fossombrone, who is said to have been 
an apprentice in one of the printing houses in Venice, in- 
vented the printing of figured music with movable metal 
types, (i) Having obtained from the Signoria a privilege 
for his invention (25 th May 1498I (2) he published in the 
year i5oi, according to his own system, the Harmonicce 
musices Odhecaton. Petrucci continued to print music in 
Venice up to 009 (31 when he transferred his office to 
Fossombrone, his native town. Several other Venetian 
printers, contemporaries of Petrucci, either printed music 
or caused it to be printed, as for instance Lucantonio 
Giunta, Ottaviano and Girolamo Scoto, Melchiorre Sessa, 
Bernardino and Matteo de Vitali, and Andrea Antico the 
Istrian. But it appears that they limited themselves to the 
ancient or xylographic system, for Francesco Marcolini da 
Forli, a celebrated printer and an admired writer, de- 
manded and obtained from the Signoria of Venice a pri- 
vilege, dated I July 1 536, for printing music « by the me- 
thod in which letters are printed, and it is about 23 years 
since such work has been done and not only Italy hut also 
Germany and France have endeavoured to recover this 



(1) Respecting Petrucci and his invention consult An- 
thon Schmid, Ottaviano de Petrucci da Fossombrone der 
erste Erfinder des Musiknotendruckes mit bewe^lichen Me- 
tall-typen, Wien 1845, and Augusto N'ernarecci. Ottaviano 
de Petrucci da Fossombrone inventore dei tipi mobili me- 
tallici della musica nel secolo XV, Fossombrone 1881. 

(2) This privilege is given in full in thew ork already 
quoted : Castellani, La stampa in Venejia p. yS. 

(3| This last edition in Venice is : Tenori e Contra- 
bassi intabulati col Sopran in canto fi^urato per cantar e 
sonar col lauto. Libro I. Francisci Bossinensis opus .... 
ending: n Impressum Venetiis per Octavianum Petrutium 
Forosemproniensem Cum privilegio invictissimi Domini 
Venetiarum, quod nullus possit intabulaturam lauti im- 
primere sub penis etc. Die 27 Martii 1509. u 



method but without success » (il It appears then, accord- 
ing to Marcolini's statement, that the system of printing 
figured music with movable metal types n in the manner 
in which letters are printed » was kept^secret by Petrucci, 
and that he had taken it with him to Fossombrone 
without imparting it to anyone, and that consequently all 
those who printed music about that time did so according 
to the ancient xylographic sj'stem, and that, at last, Mar- 
colini had succeded in finding out the method by which 
Petrucci printed with movable metal types. However, this 
may be it is certain that Marcolini, as early as May i536, 
that is to say prior to the concession of the privilege, had 
published : Intabulatura de liuto ... di Messer Francesco 

da Milano In Venezia per Francesco Marcolini da 

Forl'i. In la contra de Santo Apostolo ne le Case de Frati 
Crosacchieri ne gi anni (sic) del Signore MDXXXVl del 
mese di magio u, and it is quite certain that this music 
was printed from movable metal types. 

About this time Antoine Gardane, a French musician, 
came to Venice and established a printing press for mu- 
sic which rapidlj- became very active and celebrated. Gar- 
dane also perfected Petrucci's system, for while at first 
the printing of music was executed by means of rvvo impres- 
sions printing at the first the lines and the words of the 
text and register, and at the second the notes either upon 
or between the lines, Gardane discovered a method of 
printing it all at one impression and, nevertheless his 
printing is always admired for its exactness of execution 
and for the elegance and clearness of the types. 

His sons Angelo and Alessandro succeeded him and 
kept the press active until about the end of the century. 
At that time; the music presses of Ricciardo Amadino 
and Giacomo Valenti were also flourishing. By the in- 
dustry of these and of several other printers the production 
of music and of works relating thereto was very abundant 
in Venice throughout the sixteenth century, in fact to 
such a degree as to surpass that of every other city, not 
excluding even Paris itself. 



(i) This privilege granted to Marcolini is likewise 
given in full in the work already cited La stampa in Ve- 
necia p. 83 etc., which contains curious particulars respect- 
ing Petrucci's invention. 



C. Castellani. 



^ 



CONTENTS 



Note by the Venetian Publisher 

The Art of Printing in Venice — C. Castellani 

Printers' Marks — Water-marks — C. Castellani 

The Printing of Music — C. Castellani 

Printing in Venice (fac-similes) 

Autograph of Aldus Manutius .... 

Bindings. — Text 



Page 


7 


n 


9 


n 


17 


n 


20 


n 


31 


n 


32 


n 


217 



INDEX 



— Wo7-ks illustrated. 

1469 — M. T. Ciceronis Epistols ad farailiares. Johannes de Spira — Biblioteca Marciana . 

> — C. Plinii Secundi Historia natui-alis. lohannes de Spira. — Bibl. Marc 

1470 — Francesco Petrarca, Sonetti e triomphi. Vindelino da Spira. — Bibl. Marc. 

» — Titi Livii Historiarum libri. Vindelinus de Spira. — Bibl. Marc. 

1471 — lobannis Tortelli Aretini de Orthographia dictionum e Grsecis tractarum. Nic. lenson. — 

Bibl. Marciana 

» — Leonard! (Bruni) Aretini de Bello Italico libri quatuor. Nic. lenson GaUicus. — Bibl. Marc. 

1472 — Caracoioliis Robertus de Litio, Sermones Quadragesimales. Franciscus Hailbrun. — Biblio- 

teca Marciana 

> — L. C. Lactantii Firmiaui De Divinis Institutionibus libri VII. Vindelinus de Spira. — Bi- 

blioteca Marciana 

1473 — loannis de landuno Qusestiones super tres libros Aristotelis de Anima. Franc, de Hailbrun 

ef Nic. de Franckfordia. — Bibl. Museo Civico 

1474 — Nicolai de Ausimo Supplementum SummEe Pisanell». Franc, de Hailbrun. — Bibl. Marc. 

1475 — Diogenis Laertii Vitse philosophorura. Nicolaus lenson. — Bibl. Marc. .... 

1476 — Petri de Abano Conciliator ditferentiarum philosophorum. Gabriel de Tarvisio. — Bibl. Marc. 
» — loh. de Monteregio Calendarium Bern. Pictor, P. de Loslein, Erh. Ratdolt. - Bibl. Marc. 

> — C. Plinio Secondo, Istoria natur. tradotta di lingua latina in florentina per Cliristophoro 

Landino. Nic. lenson. — Bibl. Marc 

1477 — Appiani Alexandrini Romanarum Historiarum libri IV. Bern. Pictor, Erh. Ratdolt — Biblio- 

teca Marciana 

» — Coriolaiius Cepio Dalmata, P. Mocenici Imp. gestorum libri tres. Bern. Pictor, Erh. Rat- 
dolt. — Bibl. Marciana 

» — Corpus luris civilis, Digestum vetus. — lacobus de Rubeis. — Bibl. Marc. 

» — Statuti et Ordeni de I'inclyta citti de Venesia. Philipo de Piero. — Bibl. Marc. 

1478 — Breviarium iuxta ritum Romanse Curiee. Nic. lenson. — Bibl. Querini Stampalia 
» — Pomponius Mela, De situ orbis. Franciscus Renner de Hailbrun. — Bibl. Marc. 

1479 — Biblia Latina. Nic. lenson. — Bibl. Marc. 

1480 — lacobus de Voragine, Legendse Sanctorum. Ant. de Strata de Cremona. — Bib. Museo Civ. 

1481 — lustiniani Imp. Institutiones. Nicolaus Catalanus de Benedictis. — Bib. Museo Civ. 

» — Guidonis de Baysio Rosarium Decretalium. Nic. lenson. — Bibl. Marc 



Page 33 

» 34 

» 35 

. 38 

» 39 

. 40 

» 41 

. 42 

. 43 

» 44 

. 45 

:> 46 

. 47 

» 48 

. 49 

. 62 

. 54 

. 55 

. 57 

. 59 

. 60 

. 61 

» 62 

> 63 



22 

1482 — Alexandri (de Villa Dei) Grammaticum Opus, interprete Lud. de Guaschis. Sine iyp- — Bibl. 

Marciana P»ge 64 

65 
66 
67 
71 
72 
73 
74 



> — lohannes de Sacro Busco, Opusculum Sphasricum. Erh. Ratdolt. — Bibl. Marc. . 

> — Hygini Poeticon Astronomicon. Erh. Ratdolt. — Bibl. Marc. 

» — Pomponii Melse Cosmographia Geographica. Erh. Ratdolt. — Bibl. Marc 

1483 — Biblia Latina. lohannes Herbert de Seligenstat. — Bibl. Marc 

1484 — (Wernerus Rolewinck), Fasciculus temporum. Erh, Ratdolt. — Bibl. Marc. 

1485 — Missale Romanum. Petrus Cremonensis dictus Veronensis. — Bibl. Museo Civ. 
, _ P. Terentii Afri Comcedise cum Commento Donati. Simon Bevilaqua. — Bibl. Marc. 

1486 — lacobi Philippi (Foresti) Bergomensis Supplementum Chronicarum. Bernardinus de Bena- 

liix. — Bibl. Marc. 

1487 — Bartolomeo Miniatore. Formulario di Epistole volgari. Bernardino de Novara. — Biblio- 

teca Marciana 

1488 — lohannis Tortelli Commentarii de Orthographia dictionum e Grsecis tractarum. And. Catha- 

rejisis. Bibl. Museo Civ. 

1489 — Officium B. M. Virginis. Andreas de Torresanis de Asula. — Bibl. Museo Civ. 

1490 — Triomphi di Messer Francesco Petrarca. Pier Veronese. — Bibl. Marc 

> — losephi ludaei Historiographi libri lohannes Vercellensis. — Bibl. Museo Civ. . 

> — Marco Antonio Sabellico, Croniche. — Libreria F. Ongania 

» — Missale secundum morem S. Rom. Ecclesise. loh. Bapt. de Sessa. — Bibl. Marciana . 

> — lohannes de Sacro Busco. Sphaericum opusculum. Octavianus Scotus Modoetiensis. — Bi- 

blioteca Marciana . 

1491 — Augustini Datti Scribae Senensis Elegantiolae. Baptista de Sessa — Bibl. Museo Civ. 

> — loannes Climachus vel Schala paradisi. Matieo da Parma. — Bibl. Marc. 

» — Diomedes, de Arte Grammatica. Christophorus de Pensis de Mandelo. — Bibl. Marc. 

1492 — lacobus Philippus Bergomensis, Supplementum Chronicarum. Bernardinus Rictus de No- 

varia. — Bibl. Marc. 

> — Albubather, de Nativitatibus. Aloysius de contrata s. Luciae Venetus. — Bibl. Museo Civ. 

> — Vita della B. V. Maria. Giovanni Rosso da Vercelli. — Bibl. Museo Civ. 

1493 — Tito Livio Volgare. Zuan Vercellese ad istanza di Luca Ant. Giunta. — Bibl. Marc. 
» — Cantalycii loh. Bapt. Epigrammata. Matthceus Capcasa Parmensis. — Bibl. Marc. . 

» — .Sliu* Donatus. Rudimenta Grammatices. Guilelmus Tridentis cognomento Anima mea. — 
Bibl. Marciana 

> — Esopo , Le favole volgarizzate da Accio Zucco. Manfredo de Monteferrato de Sustrevo. — 

Bibl. Marciana 

1494 — Dialogo de la Seraphica Vergine s. Catherina da Siena. Matheo di Codeca da Parma. — 

Bibl. Marciana ............... 

> — Lucas de Burgo Sancti Sepulchri, Summa de Arithmetica. Paganino de Paganinis da Bre- 

scia. — Libreria L. S. Olschky 

> — B. Lorenzo Giustiniano, Dottrina della Vita monastica. sine tip. — Bibl. Marc. 

» — Lucianus, De Veris narrationibus. — Siinon Bevilaqua Papiensis. — Bibl. Marc. 

> — Leonardo (Bruni) Aretino, Opera intitolata I'Aquila. Pelegrino de Pasquali. — Bibl. Marc. 
» — Herodoti Halicarnassei Historiarum libri IX. lohannes et Gregorius de Gregoriis fratres. — 

Bibl. Marciana 

» — Lucas de Burgo Sancti Sepulchri , Summa de Arithmetica, Paganino de Paganinis da Bre- 
scia. — Libreria L. S. Olschky 

1495 — lohannes de Ketham, Fasciculus medicina. loh. et Greg, de Gregoriis frat. — Bibl. Marc. 

> — Aristophanis Comcedise novem. Aldus Manutius Romanus. — Libreria L. S. Olschky 

> — Antonii Corsetti Siculi Tractatus ad status fratrum lehsuatorum confirmationem. loh. et 

Greg, de Gregoriis. — Bibl. Marc. 

> — T. Livii Patavini Decades. Philippus Pincius Mantuanus. — Bibl. Marc. . , 

t — loh. Ant. Campani Opera. Bernardinus Vercellensis mandato And. Torresani de Asula. 

— Biblioteca Marciana 

> — Marsilii Ficini Epistolae. Matthaeus Capca.^a Parmensis. — Bibl. Marc 

1496 — Marco Polo da Venezia, De le maravigliose cose del mondo. lohannes Baptista de Sessa. 

— Bibl. Marciana 

» — S. Thomae Aquinatis, Commentarii in Aristotelis libros de Anima. Utino Papiense. — Bi- 
blioteca Marciana 



75 

77 

79 
80 
81 
82 
83 
84 

86 
86 
87 
88 

89 
90 
91 

92 
94 

95 

96 

98 

100 
10*2 
103 
104 

105 

107 
108 
110 

112 
113 

115 
117 

118 

119 



2S 

1496 — lohannes de Monteregio, Epitoma in Almagestura. loh. flamman de Landoja dictus Her- 

izog. — Bibl. Marc page 121 

1497 — Etymologicura Magnum. Z icharinx Calliergi, smnptibux yic. Blasii Cretensis. — Biblio- 

teca Marciana > 123 

> — Psalteriura. Aldus Manutius. — Bibl. Marc » 127 

> — loh. Serapionis Practica, seu Liber de simplici medicina. Bonetus Locatellus mandato 

Oct. Scoti. - Bibl. Marc 129 

> — Ovidio Metamorphoseos volgare. lohanne Rosso Vercellese ad instantia de Luca Ant. 

Giunta. — Bibl. Marc. . ' .132 

» — Dante Alighieri, La divina Oomedia col comento di Uristoforo Landino. Piero de Zuane 

Quarengi. — Bibl. Marc. > 133 

• — P. Terentii Afri Uomoedias. Simon da Lucre. — Bibl. Marc » 136 

» — lulii Firraici Materni de Xativitatibus Hbri VII. Simon Papienses dictus Bevilaqua. — 

Biblioteca Marciana > 137 

li98 — Marci Autonii Sabellici Enneades ab orbe condito. Bernardinus et Mathaeus Veneti. — 

Biblioteca Mus. Civ » 138 

» — Bibbia Malermi. Simon Bevilaqua. Libreria L. S. Olschki > 140 

» — Transito di Sancto Hieronymo. Manfredo di Monferrato. — Bib. Querini Stampalia . > 142 

» — Libro d'el maestro e J'el discipulo. Manfredo di Monferrato. — Bibl. Marc. . . . > 143 

1499 — lulii Firmici de Nativitatibus. Aldus Manutius. — Bibl. Museo Civ > 144 

» — Hypnerotomachia Poliphili. Aldus Manutius. — Bibl. Marc > 146 

» — Missale Romanum. Geori/ius Arrivabene. — Bibl. Marc. ........ 153 

» — Statuta in Leges municipales Reipublicw Vincentinte. Simon Bevilaqua. — Bibl. Mus. Civ. » 1.57 
1.01,0 — Graduale sanctse Romanae Ecclesise. Mandato et impensis Lucantonii Giunta. — Libre- 
ria L. S. Olschki 158 

» — Epistole devotissime de sancta Catharina de Siena. Aldo Manuzio. — Bibl. Marc. . . » 160 

• — lacopo de Barber!. Pianta di Venezia. — Museo Civ > 161 

1501 — Albertutio Vesputio Fiorentino, Novo Mondo con veduta di Venezia. Zorzi de Rusconi. 

Bibl. Marc .164 

1502 — Dionysii Areopagitse Caelestis Hierarchia. laccuinus de Tridino. — Bibl. Marc. . . . 166 

1503 — Breviariura monasticum secundum Ordinem Caraaldulensem. Bernardinus Benalius. — 

Biblioteca Museo Civ 166 

> — Francesco Petrarcha, Sonetti e Canzoui. Alhertino de Lissona. — Bibl. Museo Civ. . » 167 
» — Aboul-Hassan-Ali, Liber in judiciis astrorum. Joh. Baptista Sessa. — Bibl. Marc. . . 168 
» — Philippus Bergomensis, Supplementum chronicarum. Albertinus de Lissona. — Biblioteca 

.\iarciana 169 

1504 — loh. Archiepiscopi Cantuarensis Perspectiva communis. loh. Bapt. Sessa. — Bibl. Mus. Civ. » 171 
1506 — Phil. Bergomensis, Supplemeutum supplement! Chronicarum. Georgius de Rusconibus. 

— Bibl. Museo Civico 172 

1509 — Prisciani Grammatica. Philippus Pincius — Libreria L. S. Olscky > 173 

1511 — Missale Romanum. Bernardinus Slagninus. — Bibl. Serainario 174 

» — Specchio delta fede. Pietro Quarengi — Bibl. Marc 175 

» — Plauti ComosdisB XX a Bernardo Saraceno emendatte. Lazzarus de Soardis. — Libre- 
ria. L. S. Olschki .176 

» — Hortus Sanitatis. Bernardinus de Benaliis. — Bibl. Marc 177 

1512 — Dante Alighieri, Divina comedia. .Stagnino. — Bibl. Museo Civ 178 

» —Libro del Per. grino. Manfredus Bonus de Montis Ferrato. — Bibl. Marc. .... 179 

» — M. Fabii Quintiliani Oratories Institutiones. lohannes de Rusconibus. — Bibl. Marc. . » 180 

1513 — De recta paschatis celebratione Octavianus De Petrucci Forosemproniensis. — Bibl. Marc. > 181 
» — Missale Aquileiense. lacobus Pentius de Levedo. — Bibl, Seiniuario ...... 182 

1514 — Ambrosii Leoiiis de Nola patria. loh. Rubeus Vercellensis. Bibl. Marc 183 

1515 — Apooalypsis lehsu Christi. Alessandro Paganino. — Bibl. Marc » 1.S4 

1516 — Plutarchi Vitae, Guarino Veronensi iiiterprete. Melchior. Sessa et Petrus de Ravanis Socii. 

— Bibl. Museo Civ > 1,S6 

» — Strabo, De situ orbis. Graece _ Aldus Manutius. Bibl. Mare > 187 

1517 — Euclidis Megarensis Elementorum libri, Barthol. Zamberto iuterprete. loh. Taccuinus de 

Trino. — Libreria L. S. Olschki 188 

1518 — Omiliario quadragesimale. Bernardino Vitali. — Bibl. Museo Civ » 191 

. — loh. de Voragine, Legendario de Sancti. Nicolb e Domenico Dal GesU, Biblioteca Marciana > 193 

. — Giovanni Boccaccio, II Decamerone. Augusto de Zanis de Portesio. — Bibl. Marc. . . » 197 



24 

1518 — Cyriffo Ualvaneo. Alessandro de Bindoni. — Libreria L. S. Olschki Page 198 

1519 — Officium B. M. Virginis. Lucas Antonius de Givnta. — Bibl. Marc 198 

1520 — Pamphilo Sasso Modenese, Sonetti, Capitoli, Ecloge. Guglielmo Fontana da Monferrato. 

— Bibl. Museo Civico » 199 

» — Missale Romanum. Lucantonio de Giunta. — Bibl. Marc » 200 

, Auli Flacii Persii Satyrse. Bernardinus de Viatiis de Lixona. — Libreria F. Ongania . » 201 

1521 — Dante Alighieri, Amoroso Convivio. G. A. de Lerlio. — Bibl. Marciana . . . . » 202 

^ — Missale Romanum. Gregor'uis de Gregoriis. — Bibl. Museo Civ. » 203 

, Publii Francisci Modesti Ariminensis. iJerraordmus de Vitalis Venetus. — Bib. Museo Civ. » 205 

— Music a. 

1503 — Odhecaton. Ottaviano Petrucci da Fossombrone. — Bib. Capitolare di Treviso ...» 206 
1523 — Pietro Aaron Fiorentino, Thoscanello della musica. Bernardo e Matteo de Vitali. — 

Biblioteca Marciana 208 

1539 — II terzo libro dei madrigali. Antonio Gardane. — Bibl. Marciana » 210 

— Frontispieces mid pages with illuminated borders. 

1469 page 33, 34 - 1470, 35, 36, 37, 38 - 1471, 39, 40 - 1472, 41, 42 - 1473, 43 - 1474, 44 - 1475, 45 - 
1476, 46 - 1478, 57, 58 — 1480, 61 — 1481, 62, 63 - 1485, 73 — 1488, 79 - 1490, 82. 

— Frontisjneces and pages with engraved borders. 

1476, pages 29 — 1477, 49, 51, 52 - I486, 75 — 1487, 77 - 1489, SO - 1490, 81, 83, 84, 85 — 1491 , 86, 
1492, 89, 90, 91 - 1493, 92, 94, 95, 96, 97 — 1494, 98, 102, 103, 104, 105, 107 — 1495, 108, 112, 
113, 115, 116 -- 1496, 121, 122 — 1497, 123, 124, 125, 127, 132, 183, 134, 137 — 1498, 142, 143 - 
1499, 144, 154, 156, 157 — 1501, 164 — 1502, 165 — 1503, 166, 167, 168, 169 — 1504, 171 — 1506, 
172 — 1509, 173 - 1511, 175, 176, 177 — 1512, 178, 179. ISO — 1513, 181, 182 — 1514, 183 — 
1515, 184 - 1516, 186, 187, 188, 189 — 1518, 191, 193, 194, 195, 197, 198 - 1519, 198, 199 - 1520, 
200, 201 — 1521, 202, 203, 205 — Musica: 1503, 206, — 1523, 208, 209 — 1539, 210, 211. 

— Details of ornamentes and figures. 

Pages 28, 29, 30, 31, 47, 65, 68, 70, 72, 74, 85, 87, 90, 94, 96, 97. 98, 99, 100, 1 )1, 102, 104, 105, 106, 108, 
109, 112, 117, 119, 121, 128, 135, 136, 140, 141, 144, — Poliphilo Aldo: 145, 146, 147, 148, 149, 150, 151, 152 
— 154, 160, 161, 162, 163, 165, 167, 16S, 170, 173, 177, 178, 18J, 185, 187, 18S, 191, 192, 195, 196, 197, 198. 
199,202,204,211,216. 

— Italo-Gothic Characters. 

A. pages 34, 47, 49, 59, 64, 66, 69, 71, 76, 78, 79, 81, 84, 85, 88, 91, 92, 93, 94, 95, 96, 97, 98, 99, 101, 102, 

106, 112, 114, 116, 117, 118, 122, 129, 130, 132, 135, 137, 139, 140, 141, 142, 143, 144, 147, 153, 155, 157, 
160, 165, 167, 168, 170, 171, 173, 175, 178, 181, 184, 185, 186, 187, 191, 192, 199, 202, 204, 206. 

B. » 34, 69, 71, 72, 78, 89, 93, 94, 95, 97, 112, 117, 130, 135, 137, 139, 141, 143, 155, 156, 157, 165, 173, 175, 

178, 181, 183, 185, 190, 192, 202, 204, 206, 210. 

C. • 34, 50, 59, 65, 66, 69, 71, 77, 78, 79, 81, 84, 90, 91, 93, 95, 96, 97, 98, 99, 101, 102, 112, 114, U7, 119, 120, 

129, 130, 132, 133, 135, 137, 139, 140, 141, 142, 144, 147, 153, 155, 156, 157, 160, 165, 168, 170, 173, 178, 
181, 185, 186, 190, 191, 192, 195, 204, 206. 

D. » 34, 50, 53, 55, 59, 64, 65, 66, 69, 71, 73, 77, 78, 79, 81, 84, 87, 89, 90, 91, 93, 95, 96, 97, 99, 100, 101, 103, 

106, 112, 117, 118, 119, 120, 130, 132, 135, 137, 139, 140, 141, 142, 143, 144, 153, 155, 156, 157, 160, 165, 
168, 170, 171, 173, 178, 181, 185, 186, 190, 191, 192, 202, 204, 206 

E. . 34, 47, 59, 66, 67, 69, 71, 73, 76, 78, 81, 84, 85, 86, 89, 90, 91, 93, 95, 96, 97, 98, 99, 102, 103, 106, 112, 

117, 120, 129, 130, 131, 135, 137. 139, 140, 141, 142, 143, 147, 157, 160, 165, 173, 175, 178, 181, 185, 186, 
187, 190, 191, 192, 196, 202, 206. 

F. . 34, 47, 69, 71, 78, 81, 84, 90, 91, 93, 94, 95, 96, 97, 98, 99, 103, 112, 116, 117, 118, 120, 130, 131, 132, 135. 

137, 139, 140, 141, 143, 147, 155. 160, 173, 175. 178, 181, 185, 186, 190, 192, 202, 206, 210. 

G. . 34, 66, 69, 71, 78, 84, 86, 91, 92, 93, 95, 96, 97, 99, 112, 114, 130, 131, 133, 139, 141, 143, 144, 153, 165, 

156, 181, 190. 192, 206. 
H. • 34, 59, 64, 66, 66, 67, 71, 77, 78, 81, 84, 91, 92, 93, 95, 96, 97, 98, 99, 103, 112, 116, 117, 118, 120, 131, 
132, 134, 135, 137, 140, 141, 142, 144, 155, 157, 170, 171, 173, 175, 178, 185, 191, 192, 199, 202, 206, 210. 



25 

I. pages 34, 50, 53, 66, 67, 69, 71, 75. 78, 79, 84, 85, 86, 89, 91, 92, 93, 95, 96, 97, 98, 99, 102, 103, 106, 112, 116, 

117, 118, 119, 120, 129, 130, 131, 132, 133, 135, 137, 140, 141, 142, 144, 147, 155, 157, 170, 171, 173, 175, 
178, 181, 185, 186, 188, 191, 192, 193, 199, 202, 204, 206, 210. 

L. . 34, 47, 50, 53, 59, 65, 66, 69, 71, 76, 77, 78, 79, 81, 84, 91, 93, 95, 97, 98, 99, 100, 102, 112, 114, 117, 

120, 130, 131, 132, 135, 137, 140, 141, 142, 145, 147, 155, 156, 157, 167, 168, 171, 173, 175, 178, 181, 185, 

186, 190, 191, 192, 195, 199, 202, 206. 
M. . 34, 65, 66, 69, 71, 72, 76, 78, 84, 86, 87, 91, 92, 93, 95, 96, 97, 98, 99, 102, 112, 114, 117, 119, 130, 131, 

135, 137, 139, 140, 141, 143, 147, 155, 168, 170, 173, 1 78, 181, 185, 186, 187, 191, 192, 199, 202, 206, 210. 
N. . 34, 59, 65, 66, 69, 70, 71, 74, 78, 81, 84, 91, 93, 94, 95, 97, 102, 106, 112, 113, 114, 117, 119, 120, 130, 131, 

134, 137, 139, 140, Ul, 143, 144, 147, 157, 165, 170, 173, 178, 181, 185, 186, 190, 191, 192, 202, 204, 206. 
O. . 34, 59, 65, 66, 67, 70, 71, 73, 78, 86, 90, 91, 93, 94, 95, 96, 97, 98, 101, ia2, 103, 106, 114, 117, 118, 119, 

120, 130, 131, 135, 137, 139, 140, 141, 147, 156, 157, 160, 173, 175, 178, 181, 183, 186, 190, 191, 192, 199, 

204, 206. 
P. . 34, 51, 64, 65, 66, 70, 71, 72, 73, 78, 81, 84, 85, 86, 89, 91, 93, 94, 95, 96, 98, 99, 101, 102, 112, 114, 117, 

118, 119, 120, 129, 130, 131, 132, 135, 137, 139, 140, 141, 142, 143, 144, 145, 153, 155, 157, 158, 160, 
168, 171, 173, 175, 178, 181, 183, 185, 186, 190, 191, 192, 195, 199, 202, 204, 206, 210. 

O. • 34, 52, 53, 64, 65, 66, 67, 71, 78, 81, 84, 85, 86, 87, 90, 91, 93, 94, 96, 96, 97, 98, 99, 101, 112, 114, 117, 

118, 120, 130, 131, 132, 135, 137, 139, 140, 141, 142, 143, 157, 170, 171, 173, 175, 178, 185, 186, 190, 

191, 192, 194, 202, 206. 
R. . 34, 50, 66, 70, 71, 72, 73, 78, 84, 86. 93, 94, 96, 97, 99, 102, 103, 106, 112, 117, 122, 130, 131, 139, 

140, 141, 147, 153, 155, 156, 157, 160, 173, 178, 181, 186, 192, 202, 206. 
S. . 34, 50, 59, 64, 65, 66, 70, 71, 73, 76, 78, 79, 81, 84, 86, 87, 93, 94 96, 97, 98, 99, 101, 102, 103, 106, 

112, 114, 117, 118, 119, 120, 130, 131, 133, 139, 140, 142, 143, 147, 156, 167, 160, 167, 171, 173, 176, 

178, 181, 183, 185, 186, 188, 189, 191, 192, 195, 202, 206, 210. 
T. . 34, 47, 59, 65, 66, 70, 71, 72, 78, 89, 92, 93, 95, 96, 97, 98, 106, 112, 120, 130, 131, 133, 139, 140, 

142, 143, 147, 153, 155, 157, 171, 173, 178, 185, 186, 187, 188, 191, 192, 199, 202, 206. 
U. . 72, 97. 119. 155, 156, 171, 173, 175, 178, 191, 192, 202. 
W. . 34, 64, 65, 66, 70, 71, 73, 74, 77, 78, 79, 81, 84, 87, 91, 93, 95, 96, 97, 99, 106, 108, 112, 116, 117, 

118, 130, 131, 135, 140, 143, 167, 16), 168, 170, 183, 185, 186, 188, 195, 206. 
Y. . 111. 
X. > 34, 70. 
Z. . 34, 66, 73, 112, 130, 131, 243. 

— Qreek Characters. 

Pages 110, 111, 123, 124, 125, 126, 127, 128, 187. 

— Ser^ies of Venetian Printers' Marks. 

1470—1482 — Nicolaus Jenson, Gallicus — page 63. 

1471—1487 — Johannes de Colonia (loh. Agrippinensis, Joannes de Colonia) — 63. 

1473-1487 — Nicolaus de Frankfordia. — 212, 16. 

1477-1491 — Thonias de Blaviis Alexandrinus. — 212, 6. 

1479-1485 — Bartholameus de Blaviis Alexandrinus. — 212, 12, 13. 

1480-1508 — Andreas de Torresanis de Asula. — 80. 

1480-1489 — lohaimes Lucilius Santiitter de Fonts Salutis — 212, 18. 

1480-1500 — Octavianus Scotus Modaetiensis. — 85, 129, 212, 2. 

1480—1501 — loannes et Gregorius de Gregoriis de Forlivio. — 106. 

1480-1514 — Bernardinus de Vitalibus Venetus — 138, 191. 

1481-1514 — Baptista de Tortis. — 212, 1, 3, 6. 

1482-1495 — .\latheus de Codeoa (Capo de Casa) Parmensi. — 94, 117. 

1483—1494 — Peregrinus de Pasqualibus Bononiensis. — 212, 78, 213, 35. 

1483-1486 — Andreas de Bonetis de Papia. — 212, 11. 

1483—1488 — lohannas Antonius de Biretis de Papia. — 212, 15. 

1483-1606 — Bernardinus Stagninus de Tridiuo ex Monteferrato. — 212, 4, 9, 10, 14, 17, 213, 19, 20, 21, 22, 23. 

1484—1501 — Bernardinus de Benaliis Bergomensis. — 76. 

1484-1493 — Dionysius de Bertochis Bononiensis. — 213, 24, 25, 30. 

1485 — Andrea de Soziis. — 213, 36. 

1485-1492 — Bernardinus Rizus. — 89. 

1486-1492 — Andrea de Calabris Papiensis. — 213, 32. 



26 

1485-87 — Hannibal Foxius Parmensis. — pages 213, 34. 

1485-1499 — Guilelmus de Cereto (de Piano) de Tridinus ex Monteferrato, dictua Anima Mea. — 313, 27. 

1485-87 — Simon de Gabis dictus Bevilaqua Papiensis. — 74. 

1485-1501 — Georgius Arrivabenus (de Kivabenis) Mantuanus, Dictus Parens. — 153, 156. 

1485-1490 — Franciscus de Madiis. — 213, 33. 

1485-1486 — Gabriel de Grassis de Papia. — 213, 28. 

1485-1509 — Paganinus de Paganinis Biixianus. — 101. 

1486-1514 — Bartholomaeus de Zanis de Portesio. — 214, 50, 51, 215 73. 

1487-1501 — Johannes Hamman de Landoia (Landau) dictus Hertzog. — 122. 

1487-1500 — Johannes Emerich de Udenheim — 213, 26. 

1488-1500 — Theodorus de Ragazonibus de Asula dictus Bresanus. — 213, 29. 

1488-1492 — Bernardinus de Goris de Cremona. — 213, 31. 

1489-1501 — Lucas Antonius Giunla Florentinus. — 98, 200. 

1490 — Matheo Vesconte de Sancto Canciano. — 84. 
1490-1509 — Johannes Baptista de Sessa Mediolanensis — 84, 118, 171. 
1490-1501 — Philippus Pintius de Caneto Mantuanus. — 114, 173, 214, 53. 
1490-1501 — Lazarus de Soardis de Saviliano. — 214, 38, 40. 

1491 — Nicolaus de Ferrariis de Pralormis — 214, 41. 
1492—1501 — Johannes de Cereto de Tridino. — 165. 

1494 — Perrinus Lathomi de Lotharingiis — 214, 55. 

1494-1508 — Aldus Manutius Romanus — 152, 187, 215, 71. 

1495-1505 — Benedictus Fontana — 214, 44. 

1495-1601 — Jacobus Pentius de Leucho — 214, 48, 53. 

1496 — Otinus Papiensis de Luna. — 119. 

1497-1501 — Petrus Liechtenstein Coloniensis — 214, 45, 54. 

1498-1501 — Antonius de Zanchis Bergomensis. — 214, 49. 

1499 — Johannes Paep Budensis librarius — 214, 46. 

1499-1509 — Zacharias Calliergi Cretensis. — 126. 

1500—1509 — Octavianus Petrucius Forosemproniensis. — 207. 

1500-1501 — Georgius de Rusconibus Mediolanensis. — 214, 37, 42, 215, 66. 

1500-1501 — Alexander Calcedonius quondam Ludovici Pisaurensis mercator — 214, 39. 

1503 — Urbanus Kaym. — 215, 60. 

1506 — Melchiorre Sessa. — 215, 61, 62, 67, 68, 72. 

1506 — Jacobus Laconius Pedemontanus. — 215, 57. 

1507 — Alexander de Bindonis. — 198. 

1508 — Mcol6 d' Aristotele de Ferrara detto il Zoppino. — 215, 59, 63, 65. 
1509-1519 — Wendelinus Winter et Michael Otter. — 215, 70. 

1509 — Julianus de Castello. — 215, 58. 
1511 — Johannes Miier. — 215, 56. 

1514 — Laurentius Orius de Portesis. — 215, 75. 

1515-1527 — Cesare de Arrivabene. — 215, 69. 

1516—1520 — Johannes Oswalt civis Augustensis. — 214, 47, 48. 

1516—1536 — Johannes Antonio fratres de Sabio. — 202. 

1518 — Nicol6 e Domenico Dal Gesu. — 194, 195, 196. 

1524 — Johannes Franciscus et Johannes Antonius fratres de Rusconibus. — 215, 64. 

1524 — Battista de Pedezzani Brixianus. — 215, 74. 

1539 — Antonio Gardane. — 211. 



— Water-marks on paper p-inted at Venice. 

Scales. - Pages 35 3, 4, 38 1, 39 6, 40 1, 42 1, 4, 43 3, 48 1, 5, 7, 55 1, 59 8, 61 2, 63 1, 64 2, 5, 67 4, 6, 76 3, 
10, 12, 84 1, 97 2, 98 1, 108 I, 115 3, 120 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 129 1, 138 3, 142 5, 144 3, 152 2, 
159 1, 2, 170 3, 189 1, 3, 198 1, 203 1, 206 1. 

Bulls Head. - Pages 33 1, 38 2, 39 1, 44 2, 46 1, 48 lOj 12, 16, 53 1, 55 4, 56 5, 6, 59 1, 10, 14, 60 4, 5, 61 3, 
65 2, 67 3, 68 1, 76 2, 77 1, 84 2, 85 1, 93 3, 94 i, 108 2, 114 1, 115 2, 133 1, 134 1, 152 1, 157 1, 189 2, 207 1. 

Hat. - Pages 59 3, 76 1, 13. 79 2, 85 2, 87 2, 115 1, 118 1, 122 2, 123 1, 170 2, 206 2. 

Imperial and Royal Crown. — Pages 46 2, 58 3, 59 4, 60 1, 64 1, 67 5, 93 1, 152 3. 

Glove. — Pages 56 9, 119 2, 142 4, 210 1. 

Scissors. — Pages 34 2, 41 2, 77 2, 198 2. 



27 

Standard. — Pages 144 2. 
Ladder. — Pages 142 1. 
Lily. - Pages 33 2, 64 3, 123 2, 134 3. 
Spectacles. — Pages 58 5. 
Bell. — Pages 48 4, 65 1, 86 2. 
Coat of Arms. — Pages 40 2, 59 9, 139 6. 
Castle. — Pages 42 3, 50 3, 4, 59 7, 90 1, 119 3. 
Crescent. — Pages 76 7. 

Bent Bow and Arrow. — Pages 42 2, 45 3, 58 2, 76 y, 194 1. 
Crossed Arrows. — Pages 34 1. 
Swords. — Pages 77 3. 
Column, — Pages 40 4, 54 2, 59 11, 131 2. 
Cherub. — Pages 45 2, 138 1. 

Cross. — Pages 48 13, 61 1, 67 2, 76 5, 6, 8, 87 1, 134 2, 142 3. 
Head. — Pages 67 1, 72 1. 
Horse. — Pages 60 3. 
Unicorn. — Pages 59, 2, 60 2. 
Lamp. — Pages 122 1. 
Crowned Lion. — Pages 56 3, 66 2. 
Eagle. — Pages 48 3, 14. 
Duck. — Pages 79 1, 93 2, 120 5, 210 2, 3. 
Anchor. - Pages 47 1, 50 1, 2, 66 1, 138 2, 142 2, 170 4. 
Pear. — Pages 39 5, 63, 2. 

Geometrical signs. — Pages 39 2, 56 8, 58 1, 76 11, 97 1. 
Three Hills. — Pages 41 1, 48 6, 92 1, 138 5, 181 1. 
Wheel and the Carrarese Crest. — Pages 48 9, 58 6, 59 12. 
Horn. — Pages 48 11. 
Bull. — Pages 67 7, 76 14. 
Lion. — Pages 64 4, 76 4, 114 3, 157 2. 
Dragon. — Pages 35 1, 39 3, 55 3. 
Flower. — Pages 40 3, 48 8, 98 2, 138 4. 
Axe. — Pages 39 7. 
Cock. — Pages 55 2. 

Initials. — Pages 43 14, 44 1, 45 1, 54 1, 59 6, 73 1, 128 1, 160 1. 
Siren. — Pages 58 4. 

Various. - Pages 35 2, 39 4, 8, 43 2, 3, 46 3, 48 2, 15, 59 5, 13, 86 1, 3, 103 1, 114 2, 119, 1, 4, 183 1, 
202 2, 207 3. 

— Bindings of Venetian books of the XV and XVI centuries (facsimiles). 
Pages 217, 218, 219, 220, 221, 222, 223, 224, 225, 226, 227, 228. 



^ 




MCCCCLXXXVI Augustino Barbadico Duce Venetiarum Regnante 
impressum fuit hoc opus feliciter. 



^ 




Humberto I. Italiae Rege 
Impressum fuit hoc opus Venetiis. Anno MDCCCXCV. 




The Lion of S. Mark (from headings of books sec. XV-XVl). 




IMPRE.SSIO LIBROKVM. 



^ 



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A 


B 


c 


D 


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F 


C 


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1 


K 


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C^^aieucdaitae fie^a 




Printing in Venice 



(FAC-SIMILES) 



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P''rrit>k^C*^tru>yie^ t^TU> tulu^H^ fcT^^ ^jfe^*»^ >>7 O^t^jS/X'^/V 



Autograph of Aldus Manutius 




VENEZIA M.CCCC.LXVIIII 



33 



^\.^in..a Go osiuii officio ac pocius pieucc crga te cptcris GtifTacio 

^1?; '*^?iM e»nnibas ;mihi ipfc lumg fatiftAcoTanti cni rnagnitudo 

J -it luoi; crga mc mcnto2^:ur cu tu nili pkcffci re de n->c no 

-^ tOTiquiclh ego quu ';on ricm m caufa tua cfFicio; mtam 

ttuhi ccaccrbam piitc. In catifa t>?c fut Hamon-ns Regis 

JLce:rtu3.Trtcpccuianosoppugaat. Kcs.igtt'pcorciecrcdi^ 

V • rrs per -ijuos ciun cu adcras agcbatur.Rcgts raisG fi qui 

furicq ucik q p;ii ;: imaf omncs rem ad Pompcfum dctcrn uoIunt.Scnatus 

rclic;ionts cilurium non rcligionc (ed inaliuolcntia &C illms rcgip hrgitiors 

iuidiacomprobitPomptiu'bc hoitari 5c orarcfi^' iatnlibcriusaccularc ti rro'' 

ncrc ut magnain Ih^imjam tue;ut ;«o acfiilii'.rtus.Sed plane ncc precious nrls 

iiecadmo'uionibui nris rcUqt locu.Niincu in iccnoncauotidiano Kum in 

iensitu pab ra Oc cgst caulair. < uam : ut ncq^ cloqucU:?. ^naiorc quitq ne^^; graui' 

face ncq; iludio ucc coutcmt :.ricagc!"c potueric Cii funia tcftificationc tuo^ 

m 'cofFicio^ &:amoris erga t: fui. MarccUinu tibi cfie ^ratu fcis. Is bac regis 

r.rufa cxccpta ceteris '•. rebus Cc iccrriinu tui ccfenfcrc u fore ortcndit. Qucd 

<in accJpimus.Qu :)d 'ini\iv.i:t r ^crrcdc rcligioc &i Icpc iam rettulitab ^.c <\( ' 

dan no pot. Res inrc idusaci't, fv" eft Na bcc ;dibus mane rcripri.Hoifenfu 

.:*' mcr. et IiacuI? feiHcttv^ ce^iit reliqioniclc cxcerciru Icneri eni (ci <?.]it?r nor- 

j\- iJrifica mihi uerberattont ceJfTationis epillola dcdifti.NriTj cpf parduf 
fratcr per{cripferat uercftindia mdclicet fi^: pruperationc:ca tu fine Allcafioe 
ut eiant ad mc fcriphftirfit maxje dc conlulibus dcfignatistquos ego peitus 
Jiouilibidinum 6C languaris-cflTeminatis^imiannm plenos: quii rufiagu ^ 
bcrnacuhs receiTerint: maximum ab uniucrfo n^uf.agio pericul£i eft .inert'' 
A dibilc oil q\i^ ego illos (cio oppofuis galiorum caftris in f ftiuis rcci(Tc:quos 
r\ ^^c. Ji^latrcniftali '^ ' " .. ^ - 

pnuatis conlilns munienai. iNam ilti duo uix lunt digni 






f 



Sf jf,>^ ille latrc nift ahcjuid firmius fucrit: focictace uitiorum i-|eliniet. Res eft aut 
r^ll^v' tribunitiis: aut priuatis confilns munienda. Nam ifti duo uix funt digni : 
~~'"' qutbus altcn ctianamrnlten colTut anarum taScrnarum fundamcnta credas. 
Te ut dixi rcroocul is. Ego uos ad.iiii.k?Jcu.uidcbo: tuosc^ oculos criam fi 
tc ueniens m medio foro uidero:duTuauubo..JP;'Ieama.V.dc. 



Primus in Adriaca fbrmis impreffit acnis 
Vrbe Libros Spira gcnitus dc ftirpc lobames 
In rcliquis fitquanu uidcs fpes Ied:or habcnda 
Quom Labor nic primus calami fuperaucri; <irrcm 

M . cccc . Lxvim . 

Ferdinando Ot^ania Editorc . 





146 9- A 



34 



L'ARTE DELIA STAMPA 




fC 



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.C.PLlNIi. DE^NATVRALl-HiSTORlA 

Y)t m uncle 
'^•"^ fii n" ■■ III 1 1 'p^"] ET HOr QVOD NOMINE- 

Jiot_clum appr Lr; iib-.ut.ci usurcuflfMi tceunt 
cu'i<Aa:num;n e'lc crtJi f arc 'cjiftiumtinmcnfu'Ti 
"ccj, ^;cnitii-iie<:j- i.uentvur :^mc-Huius t'j.K.a idag^' 

^_a ■— ^ ,^_ ri-.ic- intcrcfr ^omir.u Il':cc..p^■ ba.Twnf -.oni«flura 

vi y^^k^E^MB3K>J^^^',^^B| mrnns.Saccrcft ):t'i;rnus'.nncnruj :::itsi totonmo 

'acra ip{ctotiim inhnif'us ac tiii.to Limiii«-.Om'invin 
ic:^certus^ fimlis '.f.ctm fcxfi i -•ti.TcuncIa -om' 
plexus m & T df Tiq; rc2J iL-iur; opus ^"^ r v ipQ raiii' 
ra.turorcrt:mcnfiiramc.us;r)n)o^ucrdirr. ag-iufTc 
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jiirhi- dat3inun''cnil';Jc> :k- iiciiflev.ia.xj'.'.siuttori'' 
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j3f *oim.i unirdi 
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^■*J!tr'j'l .ooiitfiguta. D^ tTft'tu. njtiji . 

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L^iir rr.iriitlu.> dfllt'r 

f TJ v^iiuJi-n; 5C<.->nrsaiuj^«.ririfiiii moi'or Na'PO'Jt C_ 

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o>n^Cin '^^x•i d'ab.ccplai.. iij-iunctc« d j«',r.u5;u irtcioi^r 

:>aioddL-=p'or.rculoqu' L!;iii:""4 uxat m ;;ii.a'i.-!lu'ir''i<g 

CO 'Ciu^r.stv^tijrcalisiTvDo T^c -^uiinoc flfrne-nnjr. 

"P^ITEj. dc .IciT . /.itis uidco ciftbiuii q: -i'TrfiTc o-v.' e iiitun 

I ^J^cUiiinumaUos cculos .pxniiu fprilusi^ue CTTtrr.! n 

vpt au'i' V'ttnU bimc .?< pet cunc'-a vc* mcjbiie trtotp ■: 

ca\n quarto iciui.^ c'viTicro bbrai i mtdio (iwti. tcil jre lu : 



AB 
CD 

E€ 

FG 
HH 

I L 

MN 
OP 

QR 

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469-B 



VENEZIA M.CCCC.LXX 



35 



^1 






OI CHASCOLTATE INRI 

me fparle ilfono 

Dicjuei fofpTri ondio nucJriual core 

Infalvnio primo gioucnileerrore 

qvtandsra m j ute akro huom da quel toi fono 
del uario ftjjc jnchio p'»ango et ragiono 
fra le uane fpcrsr.rc cl uan dolore 
cue fn ch( per proua imcnda am ore 
fpero trou.'».r piera non cocpcrdono 
h\:i ben ueggio bor fi come alpopol tuito 
fauola tai eran tempo oncl-2 fouente 
dime medefmo meco miucrgogno 
et delmio uaneggt.ir ucrgogna el frucllo 
el penterfi.el conofccf cbisiamcnte. 
cbc quanto puce filmoncio ij brcue fogno 

I, Ra il giorno chai Tel (i icoloraro 
/per la pier$ del fuo Fac;l.orc irai 
quando fm prefo & r>o>i ntcise-guacdai 
cbc jbe uoitr? occl"»i dotin.^ mi U<^3,*o 
tempo non mi p&rci t/a iVu i (paro 
rontra coipt daniov pc/o nifrnda ! 
ferur rcn:n:a fofpcjto ^nOo: i-jr.t'c? guai 
nel commune dolor nncom»n<iaro 
T rouomrr.j amor del un'S dilarmato 
et apcrta lauja per gboccbj a) core 
cbe d\ lagrunc Ion hifti uino et uarco 
p( vo a! nuo p-^rre non h fu hoijore 
tci-ir rr.e dx-iaeru incjucllo ibro 
noi armata non moCirarpur larco 



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■OI CHASCOLTATEINRI 

me fparfe ilfuono 
Diquei Cofpiri ondionudriualcore 
Infulmio piimo gioncnilecrrore 
cjuandera in parte altjo buorrdaquelcbifono 
del uario fVile mchio piango &i ragiono 
fra leuanc fpcranze cl uan dolore 
.^ , ouc fiacbiper proua intends amore 
^y fpero trouai'pieta-non cbe penlono 
M a ben ueggio hor fi comeiilpopol tutto 
fauolafuigran tempo ondcfouente 
r<(j dime medefmo meco mufcrgogno 

Scdelraio ume^urticrgogna el frucflo 
el pcnterfi el coaofcct cbiaramente 
cbecjiunto piacc almondo c breuc fogi 

ERA \] giorno cbal fol fi fcoloraro 
per la picta del fuo fadlore irai 
quando jfui prefo &(. non mene guarda 
cbe ibc uoftn occb i donna mt legato 
tempo non mi parea da Farriparo 
coraracolpi damorpero mandai 
fecur fenza (bfpecfi'o orrdc i miei gus 
n?i corttmunc dolor fmcomineiaro 
T rouommi ?ir>or del tutto dUarmato 
6<:aperta Uuia pergliorrbi -xlcore 
cbe di lagnmc Ton facli ufcio &c uarc 
i^v pero al mio parer non li fu honore-^ 
ftnr me deTaetta tnquello flato 
a uoi armatA non monftrar put larco^ 








'470 B 



VENEZIA M.CCCC.LXX 



3? 





ELTEMPO CHERIlsf>IOVA 



imicifofpiri 

pcrla dolce memoria Jicjuelgiorno 
cbc fu principio a fi lungWt martiri 
Gu jHoIc ahauro lunoSC Ultrocomo 




fcaldaua &: la fanciullacli titone 
corica gelata al fuo ufato foggiorno 

A- mor glifdegni i\ punto 5c k Aagione 
ncondocflo maucano al chmfo loco 
ouogni fafcio il cor lafTo nponc 

I uifralerbc gia delpiangctfioco 
uinto dal fonno uidi una gran luce 
etdentroafl'ai dolor con breucgioco 

V i<^i un uicilorjoro &fommo dace 

pur cbomun di color cben campidocho 
triumpbal carro a gran gloria conduce 

1 o cbc gioir di tal uifta non foglio 
pcrlo fecolnoiofo mcbio mi trouo 
uoto dogni ualor pi en dogni orgoglio 

L abito in uifta (i leggtadro be nouo 
mirat Icuando glioccbi graui fie {\mchi 
cbaltro dile^o cben parar non prouo 

Q uattro defirier uie piu cbe ncue biancbj 
foprun canro di foco un gaizon crudo 
ebon arco in nian 6C con faette afiancbi 



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38 



L'ARTE DELLA STAMPA 



T^X.TVti.'PA'rAV-IKT H[SXQKiCt.A:B.VF 
B E,.CON DITA. DB. PMAL.IL.PM?. IkCTTi i 

IACTVRVSNE3JMOPERAEPR.Eau: 

Ifia'pritnotdiourbis tcs populi romr.nt perCripfcnm: 
Incc faas fcioincc fi tiarn.dicerc aufim. Qmppe qui 
Joun uctc'rcin: turn uulg:iam efTt tcm.uideain: dum 
inoui icmpcr Criptcrcs aiit m rebus ccrrius .tlfaturos 
I ^liquid fc: lut (cribendi arte rudem uetuflarem (iipc / 
I nturos aedunt. Vtcunque crit: lUuatii tamen rerum 
gcflaniin memonae pnncipw wnarum populi pro uirili 
parte & T\\c ipfum ccnfuluifle. Etfi intants frriptoraTn 
turba trea 6mi in obfcuro fit : nobiljtjtc: ac magnitudme ecrum: quino 
mini officicnt mec; me cofifckr. res eft prjctErea: SC imircnfi opens: ut 
que fupia (eptingenctfiniuiTi annum rcpcraiiir:& quae ab ex^glHsprot«!fcl 
initns CO creucnt:utiam magnitudme labor 5C fua.ac Iceerjtii^m plcitlq; baud 
Jubito qutn pnmr origincsrfic prox'ucriginibiis -minus pxtbituta dolupuns 
fmt feltinantjbus ad bee noua:quibu8 wmpriJcm praf ualcnospopuli uires fc 
ipff conficiunt. Ego contra bocquoqilabcrisprcmifi pctam: ut meacofpoiku 
iTuiommiquaenoftrapcrtorannos uiditactisi tantilpet a;rtc dum pnuailh 
toa mctcrcptto:aucrtaOtsexperscurp:quf fcribenrisiminu-.ctfino flc<flcje 
auero: loUicitum tarn en cfficerc poflcr. Quj antecondiiam condcnthmue 
uTDern poencts maris decora &buhs; qui inccrtupti* itrum gefbrun\ monu' 
mentis traduntur : ca nee affirmate : ncc refc'.lere : in animo eft . datur baec 
ucniaantiauian. ut mifcendo bumana ciiumispnmf>rdiaurbtumauguftjor> 
fiiciitH Etfi curpcpulo Iiccre opcrtet confccrarc engines fuas.etaodeosrd' 
tcrre auiilcres eabc'Ji^lonacftpopuloromanoiuicunj (umti:conaitoti£:juc 
fuiparentem Mactem ponlfimuin fcrat; t.im boc gentrs buiranf padantur 
^uo ?rurr!0: q impcriiim patiuntur. Scd bpzfic bis fjTn«lia:u6auiq;a«adueri3 
aut ^nmata erunt. baud equidem in magno ponam diCrimme. Ad if la mibi 
pro (cquifqueacritcrimcndatanimum:quf uitatqui mores fticnnrrpcrquos 
t]Trcs:quibu{q;artibus domi: milititque.&' partum&auctum nnperiurnfit. 
labcnte deinde pauhtrm di£ciplina: uelut diftidcntis primo more* iequatui 
onmio.DeirK^e uc magis: magi(que lapfi fmt: turn ire cocpcfinr piydprtes: 
donee a<3 ber fempora; quibus nsc uitta noftra: nee remedj* pari poiTo^iius 
pu-ucnrum eft. Hof tllud eftprecipue inccgnitionciey falubneuc frugifoz* 
omnis te cxemptidocumenta m lUuftri pofita mcnumento mtucri. Indc tibi 
tueyi'.e raoublicequod imitere: capias . inde feodum mceptu : licdum cdtil 



/ 



So O-' 



VENEZIA MXCCC.LXXI 39 

I OANNISTORTELLIIARilETINICOMMENTARlORVM GRAM 
MATICORVM DE ORTHOGRAPHIA DICTIONVM E GRAECIS 
TRACTARVM PROOEMIVM INCIPIT AD SANCTISSIMVM 
PATREM NiCOLAVM QVINTX^M PONTIFICEM MAXIMVM. 



OEPERAMOLIMBEATISSIME 
pacer Nicolae.v.rummc ponnfex com.'' 
mentaria quaedam gramma rica conderct 
qbus omnem litterariam antiquitatem 
& orthographiae rarione 
hirtoriis pro poetarum c 
necflere conabar:^futuru: 
mnii fludiofis linguae h 
ab aiiis {Ludiis ncgociifc 
interceprus iWn prorfus t 
que longo tempo is abiice 
Sednupercumapud Aia 
ma: oppidum ex aens ro! 
fecefTilTszea abfoluere qu 
corum rogatu conatus fut 
opus magnum uanum 3c difTufum.^a 




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ran(ftitaci a qua ueiut foute omma mea bona fluxerunt : dedicarc 








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L'ARTE DELLA STAMPA 



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LEONARD! ARETINT DE BELLO ITALICO 
ADVERSVS GOTTHOS . 



TSI LONGE IVCVNDP/S MI 
hi faiCtdC Icahx fcehatacem q clades 
referre:camen quia tepora fic tulenit 
fequemur 5: nos fortune mutabilita'- 
tern Gottho^qj inuafionemrSiibellij 
quo Italia tota pene euerfa fuic : in 
his hbris cJefcribemus . Dolorofam ^fedto materiara: 
fedprocognirioneillo^temporumnecefTanam.Neqj 
enim Xenophontem athenicnfem fumo ingenio uirti 
cum obfidionetn Sc famem ac diruta moenia athenarii 
defcripfit non dolenter id feofTe reor : Scnpfit tamen 
quia utile pucabat tllasi rem memoriam nondepcnrc. 
Neqj Liuius nofler cum urbem romam a Gallis capta 
8C mcendiis confta^ratam refert minote meretor Uude: 
q cu.P. Acmihi tiiiiphu illu prseclaru de Macedonibus 
aut.P. African! uidlorias cnatTac. Hiflorix quippe eft: 
ta^fperas qaduerfas res monimcntis littera^i madare. 
Itaque optanda quidem meliorafunt : fcribenda uero 
qUcBCunqj cdtigerint.Me certe hacc ipfa fcnbentem qq 
multa pro ffgulari amore meo crga patriam cocurbit: 
timen ilia ratio conrolatur:^ etfi res tunc maxime ad/ 
uerfas Italia perpeffafuitjad extremum tame fupatrix 
extemaru gentium noftrarii ad ufqj ascate terra vn^nc^ 
potentiflima remanfic .Guitatefque in ca ornatiffime 
magnis opibus magnac^ autftbntatc uiguevt ha(ftehusj 
hodieoj uigcnC:quarum gloria & fpetium longe latec^ 
extendicurtut non tarn fgemifcendum fit pro his qua: 
tunc acdderunt q laztadu .Ceu Herculc magni 'abores 
eelebratiore fecere q fj nunq tarn periculofe laborair&:. 



/^ 



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'47'-B 



VENEZIA M.CCCC.LXXII 



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S^cre toeolcgie magilirj r.wcno Licr< eipi^uii preconiscelebei'rmi f/atrisRo' 
otrrti'de Litio crdiris Mi,)oi; moteiT^r's opusquadiaaefimalc putififumurr 
quod de benitentia didtum eft Felieiter inapir. 

^Dominica inSeptuagerinia-De facilitatebono^opeij feu bene opeiandi 
opt' qua peccacores ad pniam redije Jebeiu. Sermo.i. 

Vltifuntuocatipauciuero ele<fti.Hat>eni bee uerba IVIi:;Ki. 

XX.C.& i euagelio bodieino.Propt' nimia camate fui 5 dili git 

deusronaiecreatura nodsdnit uocitaiemireiospitores poft 
*J Lpfum atoj ruina peccati ut ad t-u redeaiicp pniani. Monet- 

eosSi expeclacpiademFrifaria niFcila modisactiabic & a!li 
Lit iltosuc nodelpent fedcurra'tcoridencadfontc clementiefuePlencij ueio 
reoiigucrenuutojobedireuoci ei? fuauinimeexiilimantescpa bona in gbus 
oinitctes exercen oportet no loiu difficilia & dura fed olo impofiibilia. Quo 
t-rrore firmato in coix menre iiceiicii imatc pleueradi lufcipiiit indieicKdete^ 
i:or?s tiunt-Q^uaript' exjftiaui re f luctuofilluni facete fi apuero qnta lit ad bn 
cperandum recleoj uiaendiimiacilitasod fuamras- V nde iboc fermoiiead ex^ 
cicanda corda dura peccato^i tjuos deus uocat ut p peritent iam elecfloij- numo 
ro afcribanf de facilitate bo noi^opeTjeio uerba fa6}rurus<^uoriia fapieiitifTini/ 
mundi redemptor t tberaate lamppbfito explicit maniferte tarditatem renir 
tcntiuip. qbu9 falusefle non potelr afferens muicosfoieuocatos eleccos uero 
Dauccs.Q^uia pauci funt fortes amnio ad uirtutumqpa,aggredienda.qbusf • 
litatea(n:uumuirtubfoz>cndendam dnximaximepropt' tria. 
Primo ppc cam origialem . m~QX taci'e eft unicuiqu opars bonum propd caufa 
Scdb opt adiutonu dinaie. crigmalemcjue ell hcminis uoianraslibera que 
Tertio^pc' p.ijiu erernale non cogitur. Caplm.i. 

P R;moondo facile effeuniciiicioparibonuppt camoiiginaleNam u 
ledlecofideremVunde e g-aliq bom alia mali finciionulli redte nonl?i 
uero^niciofiuime uiuat inueniemV pfecfto id puenire ab uniufcuiVa^ libero ar 
birrio &. fpontanea uolucate.Hoc afferut oes fapientes fiue plii fiue farnfu Vn 
At1.\>.erb!coij..c.t>il.ait.Iufi:uopan onme lioiutaiiu e.Et in.iii.etbi.c.iii. \fitt9 
uolunrariu e &nibilminus& malitianoIuntariu'C.Etibide.Btusinqr nlPsno^ 
lens eft .Et Seneca li'de morib? ait. Omne peccatu a£iio ctiolutan'a. Et idem" 
ad Lu'cillu.Valentior omni fortuna aius e&l in utracij pteraiperesfuas ducit 
btccjjac roiferc uite fibi ci cftEtSaluftiu;- in lugurtio.Duxatcj impacoruite 



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'472 -A 



42 



L'ARTE DELLA STAMPA 



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LCoelit hiitxntii Firmiani diuinaru innitutionu aiuerfusgcn 
tcs liber primus dcfalfa religionead Coftanrinu iinpatorem. 

Quanti fit 8^ fuerit fempcr cognt tio ueritatis^& cy nee fine rcHgioe 
fapientia-.nec tne fapieniia ut probanda religio. Ca-primum 

i,»-^r-^ .^vT.!! ^gj^Q gr g^^gjignij inggnJQ uiri cu fefc dorfhinf pe-- 
} nitus dedidinentrquicauid labovis potent impcdi: 
, i cotemptis ojnnibus putlicis 8C priuatis adlionibus: 
f\ ad inquirendg ueritatis ftudium contulcrunt: exifli-' 
r mantes multo cfic ptjdarius humanaru diutnarucp 

^ feruntiinueftigareacfcircrationc:5inftruend!§.opi 

bos antcumulandis bonoribus inbfrere.Quibus rebus quonia tragi 
les terrfnfqifunt:& ad foltus corporis pertinet cultum.nemomelior 
nemo iuflior eft'ici potefl.Er.int qutdem illi ueritatis cognitiSc dig/ 
nifrimi:quam fcJrc t^ntopere cupiucrunt.atq; ita ut earn rebus amui 
bus anteponerent . Nam &C abieciffe quofdam res tarniliires fuas &C 
rcnannafTe unincrris uoluptatibus conftat:ut folam nudamqi ainute 
nudi expcduiqi fcquerctur.tantum apud eos uirtutis nome 6C audto/ 
rjtis ualuit u: in ca omnc fummi boni premium prcdicaret.Sed neq; 
aiepo funt id quod uolebant:& opcrain fimul atqjindudriam perdi 
detunt:quia ucritas idert arc.uium fummi dei qui fecit omnia.ingc 
nio ic ptcjpriis non potcH fenfibus comprcbendi. alioquin nihil itf r 
dcum bominemq; dinarct:fi coliHa & difpoGtiones illius maieflatis 
f tctnj > ogititio aflequeretur bumana . Quod quia iieri non potint: 
ut bomini per fctpfum ratio diuina i.otcfceret: non eftpaffus bomi' 
ncm dcus lumen i.ipientif requurntcm diutius obcrrare:.ic fine ullo 
Jaboris f ftertu uagari per tcncbras incxtrtcabiles:3pcruit oculoseins 
aliquandc- ii notioncm ueritatis munos fuum fecitrut 6c bumanii fa/ 
pientiair. null.i cfTe monnntet ; &C cirann ac uago iiiam confequcdj 
immortalitatis oftendetct . Verum quoniam pauci utuntur hoccj/ 
URi bencficio ac munercrquodobuoluta tn obfcuro ucritas latet:eaq< 
uel contemptui docilisefiiquuidoncis affcrtoribus cget:uelodio in/ 
dodtisobinfitam fibiaufteritatemiquanatura bominum procliuis 
in uitii pati non poteft.Nam quia uirtutibus amaritudo permixta e 
uitia uero uoluptate condita funtnlb oftenfrbac delmiti leruntur in 
prcccps:ac bonorum fpecie falfi mala pro bonis ampktJluntur. Sue 
currendum cffc bis erroribus crrdidi:ut S>C dcxSti ad ueram fapietiam 
dirigantur:& idodli ad ueram rcligionem Quj profeiTio multo mc/ 
liorrutilior ; gloriofioi:putada c.q ilia oratoria i qua iiu uerf3ti;no ad 
uirtutem fed plane ad argatammaluin iuuenes erudiebamus.Multo 
quippe nunc rcc!tius de prjceptis c?!eiiibus differamns : quibus ad 




3 







'472-B 



VENEZIA M.CCCC.LXXIII 



43 



■ •-IfSri®"*'-'*'-','^; 





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'^- Reftrm'mmcri'jjtennna 

)Jcn bom natuali? liil'eru 

ry' (upiditas.led 3d falfatxurt 

i nto: adducit.Ooen'iir nfc 

lanoe in/. &iat pljs pino 

- ttbiiro:^ I; toil tnplicit lint 

^ piuilii .t'.in tons ocnsmcoi 

pm\sfi aic. tn bona aiccui") 

^ moi fiint Ihetif 1 uinurcs 

1^ fola fuiu nature ipliltois. 

ajpiopatum 7 inpteftate 
h>is psfitu I .ujlia ant I'oiu fui bona aic.n e^noui 
rr i^coipKis. oacnoia no.ga talia nofiit i ptate 
bois ltd foinmcq ipfo<;e oiis.et lx< equod die 
^liuB m BE bona foituna. Sine bcia c):tfn<^;ibiis 
q9 dnj cfV fojtuna noonnjjit eife li-licc. Cui ctiaj 
ocoidat C>o€ti1 2 tfofobu6c.d.iii plena rbinic. 
81 fna foter ij amifilTc oqicri-iiullo mo gdidiiTcB 
hxcs oiumccrraii; talu inei lut lutl . lamu'.c onaj 
ccjjnoftnt.mecnaaur.meabnuedifedunr. ii^ec 
CTia bona coipKis flit nanita bonatoisci niii'int 
hoi ajpiopara fed mulne alns ihec£na,8ota ante; 
ute bona cui'tmoi eft ipfa pl;ia fut t ptefbaiJ bo's 
po(TtaTfibia[pccpta.Ctboccq<io;iTti3Duob? 
dicit Smoa in qaii epfe ad Lucillu ipin,puocis 
ad pBiam. Si magmis cs 1 atboiv'S . fi tons es t 
leonc3.fi pulchfr es t pauoncs.fi ucto>: es -i IcfO' 
tes. fi-aiitfapiens tu C!> un')t*us in biinnocoiprf 
Ian t3S.vt in ^da;atia fic dices. i5i Diues es lauda 
fbimna.ri linns 1^ lauda natuta.A ant bon'i lauds 
teiplii! qfibonaaiefititinpoteltate hois polka t 
aitapnopatj. etqaintboiviaicpbia cpnapalil 
lop unit oonn i \xxii -ipBOtii' ipa phu ouenient 
pot trfmlii.lnfh mi ai .In qto qdc uecb lioctil 
bMuit ouotanjit.-(i2imoc'ni ta jitipfi'lad pWaj 
nstucaleinclinanoneT alfedii . z° nnqit iplilab 
ipa ertonea o-uiatiom- 1 ipjdim ctii. "iJiimu qde 
tangitdiDirit.Tnff'.'.n.mmntobominriucttboi 
;natuorif(nacupidiii(V,TcSn<<>dep-^'.iU|ubdu 
8ed ad fella teuil ex\ m adduo't "JJ^Timi cnim 
noli inotrfatcjc ouoto . pJiocj: hois o:igiali im- 
pfcljionf . 2° c% ipius cum fuo fm* ulriao -nunc- 
none.ir(Jitmum qdcm iftoy notaratl hisnei bar 
twEtminanocn diaiMf nnte bcmma.iliiccuclu 
uno nob infinuat boni natucaf oncticuiatio.cuin 
fu Wit kjni ma^L CjSiio ^ pmu pj c)c bcmiius 
oiijiali igfe&oe. fil um'taiiTq; naoUs ipfe5io 
e nanJtaf ic!i natio t afficAis ad fuii (Ppiii pfe*- 
oncin{€t l^ dt qiS oiat pfis i piio pfiico? in fine 
6j:nte cnfqdam dino t optio 7 ayetibili .1'. ipfa 
founa ud pfcflione.aliudqdimbuiconanuf.f. 
ipfa paatio jliud aataptii natu ee afl^riste 1 txti' 






yxnti ipm faJm ipffus natuci .Cipft maria u fgft 
fiibitcSihccfl-namralinptEaus. (Jiimociii eft 
ipri cJusi qjnim ad coipiu. z* quantum ad ani;na 
Chiamam ad cotpua.4i5(5am nafcinir puinc r:ib 
ir.iEftcb cfntatCTT^t B oaiaeH fibi iiictus aug' 
me nranua ipm pduc«s9b impfijiSa ^nic a J p- 
(iEa8mueladpfcaio:e.z°iia?ntindigc3xo!)x>n( 
ab tjwinreiis cottiipcnnto afcnfionc fXii iiaEi 
•InstradSiicotrma inliiico2p:-.ia alcifioiii-i;'. 
qutmadncdu bob?cctui3 it. Alns dttco ^,uc:d 
mcdn pcncis. ^ns lanam queadmc dn gco iito 
Doles cite bis ttnudatos jxiujcit ^iTteqitum 
adaiamnalbcipnlTci^. piimoiMumadamniaj 
rni(inua.z* ^tum ad itcIC&ua.?Qiiancn td fe^ 
finunm uclaipeticiua.'r Beft-qucd Dicicpltie]pmo 
etliico^l^o .jcwn ft mp Bcpjccnt nd optia-lsitst 
lutt m bis qucdda inatuceqti I'cmpadDccfatuc 
•7 obuiat ciii-f jfpcotus fenfitiuus.tt *S ermin die 
z° etbico:; Dices. Sptun.fuinusiidOEleclationes. 
Tffn oiffiali''e(lrefiftcTCOciipicq;in;.ISCTinoB 
f ); pconcomnat. (fi°nalcit iinpttdrl quanmad 
aiam inirfleduia.7 B c(V qc> Picit pfius (" ceaia-d 
Qieftmpmaluiarmtioc liaittabuUiafa mqus 
mlMlcftccpivhi uel in(t!lcnprii.l£fn enam paulo 
«ntediat.itJcq;nMll'inanniib;aieinrdl£ailcri^ 
nstut) aut bac qua po (Tibilis uocatus c 7 nibl e 
aci>ieo;^qruncantcruuifelligcre.1^iirTiusaucei 
adus c puano ^iSbonis 7 16 eft naalit ipfechis 
Sed temo pcttiat p pbilof.ipbia; . pctt'ic t enim 
quantii adcoipus p ptiiam pclici ta Au.i 1'ctJm 
ISjonctcfenao lTii5ciclu'i.\7.attibo mecMicis 
.7niiCT.riflnifioi8cmfltum.ii8U!ganojisjticulpjia 
uenatio th3n;ia.modicina.<^cd qitum ad aism 
icnnbuauetiipeniiiia ffititppbiampiadicaac 
Quam cui'tmodi t inojalia,' J Jam Mmiii neftona 
noeftfpcailaiioisgiii.l'edutUiifiimusiiucjotU' 
oliutoiatplJS3°ctbicoii.l!iictu5auttqbnt«iii 
ptiat7eiUBopusbonnteddit urcnain oiaipfis 
ibia-m /pDuacum autad aiam itcllciiiua ghcit 
ppbiainfixcutoua vBcqtfoicitComttatoi"' 
naiaq-qiihohientpfci.ius inraenufprnitiin 
tikfibi jiunget intcUesH^aries uttb2m3.7 tiic ba 
bebu iKlifchi aneptii. 7 B eft ultia^fptas quam 
fpnabSt plxintcs in bac uiia. Doc idecnam oiat 
i^plojo octiui pliicoif dices . ^ b^ of fete equoce 
i.«bc>ioignoiate7ftedo gfaenas fpailanuis. 
A^natttigithois adpf)iaicjcei3;[ia6liipfe<Ji6e 
naurinclinano 7 atfca*l4L~' B appat) e^cfcois en 
fiiofinculnmata.)iun<^oe rjauni'taimfqihcise 
nitutalis incitnano7 stfe<3us ad lUud p iio'oiun 
gicruoultiolini7,ppiioeo^adtalefincnatabt 
pienirecetidecat.7 H eft qCJ oiat boc.p Gr 3rola/- 
nonc.Ois moiuUu cum qua mvilnpliau ftucKo^ 
laboi ej:cccer oiuecib ^jdf n allc.poectit ad unajn 
tn teaiifudis hncm Hint pucn.ie.li p plnatbomo 
unitultiohniribiaDxopato.n.iuttim')fini9)x>is 
atp^o^tuBcft relicicas q confiftit in fprculntione 
fci^m 6meu^ poreaa q i nob i ccfpconobilifTimi 
obieoi qucxi eft o.'ur-. fcc>m qp oiat pi UB pi.y.'. 
etbicoiffic.n.oiat.vlliovgccmatatifinuliriteUjc 
trtja neqqua gnapat fpciulande/'Jnqiiatacni^ 
.ptcnditlp:cub)ti7tclu^ta3 7gtem9jiSmtltfpe- 
culan 7 lirlices ec n paccides 6 lt6m<p<i»t»nune 
fihoppbiam taietincm^cqni t in(>?itf>'iUficiue 
fapia iicicaf. t rt r.ii almji fupma t t^txit (Inbilif' 
fimi Eli„Nii.e-V a\ qiicd mck »■» tyi i*^ ti'je^ 
ccmftftti-.iqufadincdiitiiV**'*'^' Uafanou/ 
bilio^Tft«jEp.^l"'oito ^mui^jij-rfiWtagw 
Ooetilipbia ertonea oeumiione ■vipL-dimennif 
7 i(Va OTonca nsnario nob»t^ilit c;: mto.piio 
enic)Ljfuctudispuigne.2*cj:natuteftto<iBtf, 




m 



fi«i 



k 



i ^ziS^J 



1473-A 



44 



L'ARTE DELLA STAMPA 




IDorm fuma que 

magiftruo'a feu pi'fandla <>ulgaar nncu' 
pat'^pcei?opendiofitate apud Dt-ielToies 
cciusinoieutc.etgappcecei^abacbcis 
qiiotanones nimm m fuisquotis cepmic 
co::upra.aC(Pprei9Bmtateipler!rq;("uis 
tedfionib? valde oubia.ttdatariop ■^ Tup 
plecioeTdi3cs.ldcirco9H coem fimplicm 
ofeffoz^x'tilttarc ^j.a mibi oris cedent se- 
aeui D'i.t-1 lum^ etr.endata ad cocm qra^ 
none cediicc.ac ei9 Buitati ^ Bui^'talueco 
qo' vifu; fiicrit cjcpedive.addendo fuff le. 
«tcf additio cognofcariffeius pncipio A 
In fine CO 5 lira e>:cul->zo ponce", oictc 
fume alpbabcttdiccdinelequcndo.T ga- 
ijtapbcs m maiginifei p qtas notado pcft 
pnopiu caufl.lj m pfeta fuina oputet pn - 
'■^•'^■p.6t^pterpdiclabccop?fup 
iCiUu affiellari pocefV. 6 
^' "IVtvjv* ifuomonafteio 
l»'l-'*IVconfeae pcfuis 
fubdictspmatonfuta Touos 
-i):dinesminoies.onmofitfa/ 
cecdos-TmartTpofitafitafcdmrnojem 
pfidedojf .exteeta.T qlufi onngst '7.<J9 
oif.qtfi ndem'. ^ .OwrlmesminoKsfnc 
te!ftiEr!a£5.pfalmtftat9.'7ledo2at9.e):o2ci 
$Var?.aco'uta!:9.2i.oif.detos.ecpfalniifta^ 
tus-r Icdoiat? ide (at ut pt colUgi cjc tex ■ 





1 



I**" 



ni7g[ofaocf.c.cnorigat.^bbasafitcon' 
fecre jwtleSccani.oco.c.al Dtingac? .c. 
qfn ofeiquenr.T bolbanatu; g pcedit.T ftc 
tftos 0U08. di ad oidines no fit^dedu; 
pfaltfi.tite):ttat3ecle.pfal.pio.c.vno. 6 
i joc etia pot elect^ i abbate fi eps oitferat 
eu bndice.extoefulple. ne.pla.lbruinnf j. 
TK . Ibi of .8i eps tettio en bumiTitate ac 
beuorioe ficut Duenit regfit^.abbatce bfi/ 
otcere foite cenueciceifdej abbante liceat 
<ppos monacbos bndice a alia que ad offt 
cm buiufinoi ptinet ejcercc.conec ipfi epi 
oiiritia fua recogitet7 abbates bndice no 
lecufent. E> .AlienisautafertenonpSt. 
ej;wput.abbate6.li°(5t A .IbiofJQec 
abbatitoli'citum fit alhec^monafteriozii 
fiio:^ oueilis7jj oU aia ->uolauent7 in qs 
eccleliafncaT qfi epale iu^fdIa^>^neobQ■/ 
ncnc pma dcticalepterce tonfu ta.nift etg 
id opjtatex plcfio ptete fedi's tndulto. 6, 
i^bbasT glibetouentualisplat^cegce 
tkbjmonacrosfiigitiiios./l.^dde.T'eiec 
tos.ucin.c.nex:agandu,alFato. 5 ,6tad 
cLiuft? reduiS falua ojdinis oiTciplina .ex 
Oreguia.nevagadi. A .^f inciptt.ncte- 
li nDfi.tJide.T.apftafia ^1 §.z° 6 

Ft? abbas psiTit licenate fu bdi'tcs fuos 
id aha ueligione. Bi" fm Monaldn. "jjot 
gdelicetiare ad equaleteligioneoe Dfen^ 
111 capl'i. am no .ad fninoie co no pot.ac. 
i9-q.;.fi:atuim9,jz.q.2.fineexccptoe.lDe 
?.ttio:ivoreligioeoictic.i.religio1>!§.p. 
A .'C): ibi oiois (x t colltgi 9.ad accioiem 
ptlitct'.arc.niricedetectngiiciaducam 
leuint^Biaogtegatoisxfitcafit. 6 .Ad 
epam qq; fi fubdit^eUgar.plat? licentiace 
potetia nore9rttoouentu.e^a elcc.fire' 
[igiorus.it"ine.li'b''6t A .Intelii'gefnam 
tuetitftda electio.no ancelcdioi tutu te. 
uticlc.fi'.e,f»elec.ubiof.Cii3ce(TaiehV 
ijiofo a fupioie fuo licentia ut eledioni uF 
^uifioni fi qua be ipo Dtigerit tieii fun oa 
re plHc affenfii ambitiois vitio viix pacet 
nullt9e3e^iftep3irevolum9hiTnitai3. 6 

?lbbas \'^n9 no pot pfidc in oiucrfis mo 
nafterr:3.ejcCetcli^.to.c.vlc'.,intine. A 
Ibienaof. iQeqsiDiuetfismcnaftetTis 



>e^ 






'474 -A 



VENEZIA M.CCCC.LXXV 



45 



*>m^ 



« 



% 



4-T1 



LAERTII DIOGENIS VITAB HT SENTEN 
TIAE EORVM QVI IN PHILOSOPHIA 
PROBATI FVERVNT. 

HILOSOPHIAM A BARBA 
ris lina fupfifle plenqj autumat, 
Nanqj apud Perfas daruiite Ma' 
gos.Babylomis fmeafTynis cms rei 
prindpes fuifle Qialdxos rGym-' 
nofophiflas Indis Celtis feu Gak 
IfsDruidas&qui Semnotliei ap^' 
pellabantur:qu{ ut ait Ariftoteles 
tn MagicoSc Sotionm uigefitnoterao fuocelTionis libro; 
qjduunihumanici; luns peririlTimi: ac ptseterea religioni 
n\aMine dedm fuemnt Semnothei quocj appellari funt: 
Phcenicem mfuperfuiffe Ochum & thraca Xamolximj 
LjbyciLqj Atlancc, Ad hscEgyptii Nili fih'um. fuilTe Vul' 
camim: euniqj ipfum philofopliia: apeiuiffe principia. 
Porro ipfius rei Antirtires Saccrdotesacprophetasappel'' 
Ian folitos. Ab hoc autem ad Alexandmm Macedonum 
regein fluxilTeannosquadragmta Si. odromilia oiflingen'' 
tos fexagincacres.Quotototanpore foils defectus conri^ 
gi(Te irecentos fepoiagmtatres. Lunx autem ocTingeniros 
rngmcaduos.Emmuero a Magi 3 quomm.pnndpem.fui{re 
Zosoaftrem Perfen memoria; proditxim dt.Hermodotus 
quidem Platonicus m i ibro de difdplinis ufq? ad exddium. 
Tioix annos qumqi msha compurac:Xanthus uero Lydi^ 
us a Zosoaftre ufqj ad Xerxis tranfiitu. fexccntos enume' 
rat annos.Pofteum autem Magos plurimos fibi muicem 
fucceffine Hoftanas. Aftropfychos:Gobryas atqj pazaras: 
donee abAlexandroeuerfum eft Perfarum regnum» Sed 
hi profecto dum nefdunt gnxarorum recle fada. inuenta 
qj Barbaris applicant . Ab iis nempe non folum philofo^ 
phia uerii tdipfum quoqj hommu genus initio manauit- 







1475 A 



46 



L'ARTE DELLA STAMPA 





CONCIIJATCR DIFFERENTIA 
RVW PKILOSOPHORV.V! : lu 
PRAECrPVB MEDICORX'M CLK 
lUSSIMI VnU PETRI DE ABA 
NOPATAVINI FELICITERIN- 
aPIT. PROLOGVS 



, ^fTluni !ti 



ti trinsna 

fliuf prncndcst 
znteA : Z)aiUo ue 
ro mcduoiU5 phi 
Icfopboinqjillii/ 
flrium (Cdiijcrc'o 
fcm(n!Uf pclin 

ftmoAsincfuo 
fcnlict.3tiu-iii' 

^_^,_ -;— -^ Bed bcc JdififiC 

ei.lMVqoidcmpoKSTjf I'.ijunono ; pioptcr (onuna 
Hiiindam Jul iKnirjm.Uhi cDiulIiLxl f rimuuii nafu^ 
rjlc otiidti lum id uuBm i fdifiurnn cfnour'.O.iii'f 
^m tAn:rn i:<tV.(tpii fornin^ fci naMra impcditot: td 
DCtTc mmirr.c .idi;.':^(t. piifflu ciiidim cluctfcit C|UO 
Ham boiii.T.i .'fpiijiii? omni.i . undf loiidinliir !v( fe 
Piiittf ifl^o.'ui; iMicu.Luuc.v iurcir ! Ix-ji i l>ci;u; 
c,rt.ii fmrt^ni * qti;.i u:i:cc u.ucnnr i ft (cnna.iindi ct 
flnifna lc;n«ido Diuc:c f :ooi:r8 (ft fJTc- hoi ut\' (Oj p 
(«Wie ciii-r-Jdim:-." ci;r.MQ? p:c ^liitf Hpp^rur m.ni ' 
mscjoi diwi! (ii iiiar oppofiius.OiriK njnq; 4irirnal 
ntoiinv. txtiULiiinq? oaiiniM confoljnonfifirio . 
tflotni.x-ltlKiiJS ■;p£W!iocjiiida;amnic'l Lmn fm 
uirimrm pCiietum e.biconir. t^amodc (onfobtwn! 
quoq: fiiundo Btanrndo iHflHDisainniiim bcuioHi 
ORgrfg MMpcjUvn-Ti.- p.Minninciii'iMmimb'ni 
rjrn cnliniindt odidtruim »i (cieiidnm i]i:od bcoii'iu 
diw (O! tBifum tc:m::.«ui-.f I'ucK iHcp 1 (ditican ap 
(Wit ;:nuCiT:>vK)u-d autc fctaium p'aipue . ^Idlxjc 
i^^*v' wirK.mauM pdu'xicr; pjuorx") lUMuralircn'ihiis rra 
\*^23ar ua,(imu'q;i!np:DpoiROiiaf3<njm p:(ntipj.i.'bHuri 
ffOH 1 1 r4:ir.ro:!8 m-.titR ; T acnw uirtuiii; orlKUnicfr 

»; smnrifrw.m . Tl.in pauc<v ucrp tiT Kiiukonodi r>pt 

' nrt. tienirarrcn in pJopvTCionf eonim u;f ilfirr tniili 
J luotrfaenfiJapiTiaiirinKrra. i!ctus qi^oq- hcmm 

J (i!T!Ul»p K.f fianp ctb;ras iivrtuiibuc incilat piiiiopa ' 

litM »Uy5 inft§i!iros ccnfucnidiiw potTidcK iion bum . 

^ii'dam raiiqi no Wnm io:pcrt:u^um -lantma 

n.*.!urfl le.'t lun; fcr iti.f c :tun«ni o^•^nJm taluim fimili 

t^ impcdicu.^m itr^cr.ut'raicni fo:c 04;niiaf:po(cnna« 

r.1 bif cppod'ia: ommncq; forturtium 1 i>-for!iininin: 

■•rbrtvri'Orufr uflafurffoindo.in qui :T»i i^crcfrcpfi 

' <I(;c".ni iffi piito noil imcriro uir!udcr>d}m nonulli 

.oii.s iiio pf ioann r 5c baiinid^nc bona fallin c^ima 

ta fortuna otlui -i p.'aua. Tlatn 1 (i n fdintaci mini/ 

n™ p;ffidiijir tjjo qiunio quali ui iibi 1 cjuando tf 

'" pcdu moditaf , ^dopcini> iiaq; ncnbus uinucfo c/ 

nitoii in TRifip af magi'e in poftcra uiia ac fduiiatf ;v> 

nrt ptrp<ni:»:non unq? wnrum <;;£mplo:i!tm} i cp» 

re crrciic a(pirantibiie in bet lu piodriTc nim fooina 

''j luuiticmc na)U.'i]p mo!h» mncnlis afhmgai . lA/ri 

, >■ Mt'idnn colt ;tcre occrnn e;t pjcblnimaiilxip una cum 

L>',_ fotioiiuninrtllcoumgCTiriD canninuFrutliKlu/lns 

uturiligiiriK iim binw . Qmo lumpe pbonim a<: moh 



:«nini cilTidit \n mtdidiia rcniintiir spparAnw ram 
fiic oiuiifi uMtno; p;cii;cnfi i!criat=n tcimnai il jj 
p:'?pii:rtpf^(i lI.o<Ki!i-;i>>:c ma'ui eppciiar* . Ipiiit^T 
t^uiiue l.iice puiabam.'ni p!fci£ .(J^nnnnuni ciebtntf 
opoiirn e^i^udir; i 'indignaf. at cal'us no fom\id:rt 
oncrgtnic^ inccniuii': . limine quidcm III rufaunidn p 
cpet in p;im'(iuis lo:c fdc:;ii6 ; bu qnoiv h mrdid 
na pmjr alia iuSidaiicr i.-itr lu.um O.Mcm in iit* fe 
pirabo |)anc>> ihrnwi-: in ixoiiim cnam avniratimt 
pidahcmc . finiuni nanq? iii^a pbilof-pbum omnvi 
in piiitia 1 minima tnnirjK . In quanin uiiq; piiina 
quifiM natuaimr ccmunia i ueiiii teilcdi mc di Kb); 
umiifqj pariK isicdian;. ilxoiia uid<Uccf i pMcnce . 
lhi«1.n.cognmsfai1i'ic,tpfdir.ii!«iiniiiUiUif<pi/ 
nimu^ ipfam r^noncm ac uum sititt (onrtdc:ar: po/ 
rcituflcnBrbfloricepJolxmio. Bccunda u«:o ibfo/ 
rut comintbt! mnuij . y\ ftriia .'[nidcm qut piacnct 
fiilxfcnturftnalifl.hioMapptndi'iJocoin-mniqiiq?. 
Parftii auicm (w pift'i::(miiis i'u]U':!h'abo . dj plt:a^ 
Dnum qiicl^aorum non paruin xf&a s rciiquo, Cluas 
ti^iJidf ill ufq: in coiius i!oliiinini« rerminum ip 'arum 
bituiuni-' .illcgaiionu! ^ana conriniiap: natjrjli.. na 
incn ^dm: numciitbp. I'f^a poiiij; inuonnotiif iid 
liiafc rtigoi ifmi n p;"g<ndc fipinit . €cdtm quc<^ 
mcdo lc:n>i'nf(! < 1 1 ipicnabi^K jddunos : qt'os ciiam 
cini i.i£oii con.iis'r t anfrribt;e ac ruc but if fonic Dt 
rniart li'c-imi ilmt. iuitrip irdicalf. ^n una quaq: fi 
milnrr ci*laoiii,iriJm iempcrqui.tuciiiuiini-o'iui p 
hr urruiiq: pam.- arguia iiuoripm aliquod ittlui n 
fmiiahitiirfiibd'.uidonemra'.cici.Viquando !i:«au' 
Mn liim i.-rmincri! B;:l'!i.in p;;nii!u>:ttaoluio. Si 
amdo qu'.diTn otiAJ £*■: ipio UT^ -ib n^'-'f pi i iciiws. 
/To no ntrirH,*^ cum eiuF monuip ofl^nfio . <^c tan 
itm qiiamini argumni:o2 1'oii'itt^. C^vx l^;iiiEads 
3!no!t q:ia nil iictuflianbui' ama'sliuf (tarc'icemt 
lljodi ciuario . ■Jn pualxip autcin vjuar:iior wifcrcnfiis 
(iplicaho. ■inicftn5ut!cfiibfcnb".mp;.-pi.Tp!iniii . 
f((iind:int;IiUiiuii:quarti:mq;rucndoni. 

SufTicicnn'a ecicin qiKfh'onuinuniucralium . 

Uoiuam medicina eft rdcnita humani corpo , 
ri!> ut TanabiliK p:ocuranua.pe oia plena (la 

"Si_^'^ttmfcr!pnc.'€s qiudcni tupbiita- ui 1 rcli 
c^a portlt idctiriarum confideran . i^i trim quanni; 
cd M que ipfiuf: foiinfecs ucl inmnuca . Siauidein p;i 
uPMui quo i^ caufas f^Tinatf^ rAH, ;;alc':tfiuitn!e : 
U<1 finaltm . 6i oc» ad caufam rrfcrji'.;r (ormalt :au( 
iiniiicfalon leu particuUrnr > r!'n:;m eqndcm ca 
plinter cucn.diifl vaucv p<:f.(iic>.i:sipl'iu!': i ita oiuj 
tonfurguotficreii.mi;p:ima:fiucniodi fuq-lctijda. 
Si aaicm in iptci.ii-oicm ancndatiir ■ ad qii.innini ad 
ciup tc-tiim i.^\i ,»T miic (tJli.i Irii paritp; T id aiu rcfpe/ 
au iiUvlUnisiTiia qiiana uiie ;fi.tlu?rfi(^ qiiinu. 
<i"i fi quo ad ir.aitiiam ouptuiiiT ucl p;oiii o:dinatur 
III ccgi iiiun.ir.tiiiK ft na ucl cn-mancniijin.') fie no 
ri.i. CUiod fi quaiinij ad cflincno initndanir' «u! r» 
Ciont . nii'icif 1 lunc feprima : nd an:? fitq: coaua , 
Siuc:o M (mcin refaatnr ipfiuii^oennia coiifiirgb ip 
dt.Si auicm quanmsad ininnfcca !<up^i.'i(cr auqiio 
ad iKoaaniii'ra pacticimrT r-iiqiia.^f fir,iiidrr Ijf 
ficitnnt modus edc'ispoflet adap(ainquefiii!<:n> quo 
riidam eft (fodium. Serf quia potuis aincliiaiewoi* 
pioli mate addadi dp nriiitatcn; m bis idqi obnceyi 

■ omiHstur qucfiiit: 

duefita comunii ctcon ntiiufif F«rt;» 
mediant: ibco:ia:lpraaicc. 



,il 



r#- 






kMJ 



O**'. 



1476 -A 



VENEZIA M.CCCCLXXVI 



47 







% 



C^ 



s^ 



^^^ 




QVerta opra da c^in paite c un libro doro 
Neil fu pill precioCi gemma mai 
Oil kaierdavio ; che trattacofe afai 
Con gran fadlita : ma gran lauoro 
>^!inumeroaufeo : erutciiiegnifuoro 
Delcnpti dil gran polo da ogni lai : 
QLiando ri lole : e luna edipfi fai : 
Qiiaiite rerre l*e rece a fto tbexoro. 
li! un mftafiti tu faj qual l^orafia : 
Qiiai fara hnno ; giorno : tempo : e mexe : 
Cht tucn poncf loit daftrologid . 
loannede monte regie quello texe ! 
Cogher cal frutco acio non graue ha 
In breuecempo: econ pocbi pcnexe . 
Cbi temecocal fpexe 
Scampa iiirtu. I no mi di impreHon 
Son qui da bado di rofii colon . 

Verjecijs. I 4- 7tf 



<2<^ip>) Bernardus pi'clor de Auguflra 
PccrusloHein dcLingtncen 
E: ba rdus r acdolt de Augufta 



K^ 




1476-B 



L ARTE DELL A S TAMPA 
OPVS NICOLA! lANSONIS GALLICL 




VENEZIA M.CCCC.LXXVII 



ref 



iCO'' 



P.Canjidiin Iibros Appiam'fbpbifcf Alexandn'ni a£ Ni'« 
laumquintu lummu poncificem Prsfacio incipicfeliafiime. 



Ppi'ani Alexandrini biftona feu ue^ 
ceru incuna:reu cemporu ini'quitace 
deperdica : & ueluci longo pofthmi-' 
nio ad nos redcunceopame:ac maxi 
me pStirex Nicolae qui'ntetuo nutu 
cuo«^ iVnpeno e gr§ca ladnam facere 
mfticui/ ut non modo apud noftros 
noca efletledulicas met oblequij: fed 
ad pofteros quoqp uiitutis tug fama 
tranliret.Quid entm dignius tuis niericis impendi poteft/q uc 
ij: qui in fequenu f uo bgcali'quandolegentcum gdiFiaoiuni 
magnitudinemomatu intuebunt": qusgtacenbrtracuoaufpv 
cio confcAa i'unti te Nicolau euni cUc intelligant: qui no mi' 
norem in recuperandis libns/ q in refti'tuendi's mcenibus buic 
urbi adbibuenscuram.Et^fcdlolicec ilia prgdara:& magna 
finc.'qu? manu & arteconlhnt; & a plurinus {ummo ingenio 
diligenciaf^parantui/prgrt.inrioiatamen babenda eiunt; qug 
ftudijs adiunda; monumencis quoqj reruancurhcteiai-u. Itaqj 
qui Pern Baiilicscontiguanidomum admiianc aceftruclam 
quadrato lapide: quiHadmiu' molcm uiaflim refticuta: qui 
deoru tcmplu ab Agrippacondicu i tefuffedii jcatenolcra : 
qui plura aba bicui cefluia ueruftati ni tua cari'cas admouifTct 
■pi'as manus/ eoldeqnoc^ admuaiicoucnicc tocillufties libfos 
ad nostuaoperatraductos egrgcis;nectuamlapic!)tia nomen 
dignitate comcmoiationelaudis lu? immuncsprgtcrire: edi' 
non bujus tempons efle putcm uiitntestuas elegancion fhlo 
debicas in mediu pvoterfe boc lolu dixenm te bis rebus gettis 
afiecucum uc uems pi-g{ul digniflimus pnnceps hiberere.Sed 
lit ad Appranu redeam Doleoequide iumme pacer bis i Iibns 



Fcrdinando Ongania Editore 



'477 -A 



5o 



L'ARTE DELLA STAMPA 












pJU] 



,_J 



1 



ini LriTj 

r 






^ '* I — r — ■ 111 I ■ ■ iM ^- 

1 



f 1 



cf 






VENEZIA M.CCCC.LXXVII 



5i 



Addiuum Altbnium hingonum 6l iituuCc^Sicih^ 
rec^em in litres ctui'hu bellovu ex /Vppnno Alexarv 
drino in lati'nu aaductos Pr^fariD mcipjc felicifllme. 



Arthoru regcm ut abAnnco accept 
mus fine munerc falurare nemo po-* 
reft. Ego ucro glonofidime rex cu m 
tuam uircuK bumanitaceij cofidcro 
cum c^ceras natur? dotes rqmbus in-' 
ccr^tatisnoftrf prindpes uel in pri' 
mi's illultn's es: fubhmc ingenium t 
fummi cancate; furamacontincntja 
i- nullaradone addudpofTum urnon 
pluns apud te fidem mca cflTe cxiftnmem q ullas opes. Qtiip' 
pecu te indi'gentibus & ucluti e naufr^rgio emerlts ^^ jgnous 
oiTerre uideam^ pias manus-Cjce^ ncc fine munere ad te ucni 
necuacuis(ucaiunc)manibus cua matcftaK (wn adoracurus . 
Nam cu piiores Appianilibros'Libycum: Syuum: Paitb'icu 
& Mtchndatidj Nioolaoquinto fumopcntifici'dum i bunia^ 
ni^ageretcgrgcocfanftulidem; Rehquosduihun^ bellorum 
comenC3nos:qu5 Senatus.'popululi^^romanus inuiicmgenic 
nundu edicos aut perfeclos a me ad qaera pouus m)ttcrcn\ q 
ad te iui(5ljlITme princeps/Hifpanis prriccr & Irahf noftrj dc 



^ 



■"V 



Anneus Seneca de 
regepartborum. 



Nicolajs p.ipa quia' 
Libycus. (tus. 
Syrius. 
Pattbicus. 
Mitbndatrc.us. 



Appjani Alexandnni ropbjfrcRomanoru liber ftnic 
quiCelcicus inicribaur. Ttadu<iho.P.Candidi. 

Impredum eft bocopus Venccijs per Bernardu pifto^* 
rem & Erbardum ratdolcdc Augufta una cum Petro 
loflcin dc Langenccn corrcftore ac fbdo. Laus Deo. 
.M.CCCC.LXXYif. 



52 



L'ARTE DELLA STAMPA 



Conolanus Cepio Clandimo Uiro Matw An 
tonJo Mauroccno ccjuiu apud illuftnflimu du 
cem Burgundie Venetoru oraton fehcitacem 



Vo m prsfcdus en re mis ad claf^ 
fern profiaicercr/quam fclidfii" 
mus imperaror VeneDa'^ Pctrus 
Mocenicus contra Otbomanum 
Turco^ prindpeduccbarrucbc 
menterrogaltt me /uc quieted m baccxpedinonc 
gcllum cfl'ec litccns mandarcm: affirmans ea te 
ApoUinisoraculo ueriorababicurum qu? a me 
fcripca forent. Igit uc cibi moregerereni qugab 
impcracoreMocenioo pquadncnniu geftal'unt 
annocaui.'Tantoenim tempore &ille imperiu 
gefTit/ & ego prstcclura fiinilus I'u m.Quappter 
opufculu m quo bjcfcripta funtDti mittorquod 
cu perlegens? no minus teegregias iniperatons 
uirtutes q magnificaipliusgeftaadmuatu^cer'' 
tu babeo: merito<^damn3bis eoru {ententii qui 
affirmare folenteftoetam eflTe nacuram: necpro- 
duccie tales uiros qualcs prilastemporibus ex ' 
titenJt:omni'a(^ mundo I'enelbcntc degencrafTe: 
q falfi fine ucl ex lx>c maximc apparet . Nam fi 

a z 






^:^'r> 



V — \ _, 



'477 -B 



VENEZIA M.CCCC.LXXVII 



53 



NonuJl^ex Vcnetis ad muniaobeunda abi'nv 

pcracorceisdcrnaniJaca aberant. Hic impcrator 

inico nauiu numero ad url>e cendit. diftabac au'' 

cem millu paiTuu fexaginca : boraeracdici feic 

dedma.Iuc^ tota infec^ueti node/aduerfo uenco 

remigandof bora dici cema ad iittus uibi praxi ^ 

muclaflemappulic. Hinc Vidorem Soprantiu 

iegacu cum dece nauibus uc poitii oppidi capiac. 

mitnr. Stepbano Malipetro altero legato cu vc 

hquis nauahbus copijs/a parte conanecisurbem 

oppugnare lubec. Ecjuuibus madat ut proxjmu 

collem urbi pr^lidij caufa capiant. Omnes mo ^ 

net/eflentmemores pnibnj untutis.'pugnatun 

contra barbaru bofte/ imbellem/ atcp imparatu: 

prcligionecbnlhana; acmaieftate Vencti inv 

perij : oftendens urbem opulentiflima auro/ ar^ 

gento/prgaoiac^rupelledili refertam. quam fi 

caperenD diuitesdomu efle redituros atfin.iat. 

Omnes alaai ammo orationem Hnperatons ac-' 

cipiunt. Quibusdimiflis/ ipfc cum legato pon-' 

tihds/ ac regie duce m naui Tc continet : mde 

fi cjua neceftana poftea foret rubmiuiftraturus. 

Ecjuites ergo uelociffimo curfu omnia excur-' 

tunt.prsdam bominu/ ac pecoru agunt: dcindc 




farnil^s rcgcs conftitucbant. Venca ex cjualibet 
pacnaa fannluf modo mont^ & uirtutc prjftet; 
duccm fuumcreant. Nunc ego fummu immor' 
talemcy deu precor* uci Moccnicus impeno fuo 
rebus bene ac profperc-gcfbs rei.p. ftatu firma'' 
uit ; lea nunc ctiam princeps accR dux/ fuoduclu 
accf aufpicijs;Vcn«ttoruimpcnum longeI.Ke<y 
propsgct. 

Imprcffum ert bocopufculum 'Venetijs jrvtr 
Bcrnardum pj'dorem & Erbarcium rardolc 
dc Augufta una cum PeUx? loflem de Lan/- 
gencen correiitore acfooo. Laus Deo. 
M.CCCC.LXXVII. 









54 



L'ARTE DELLA STAMPA 



jir\\ ratradfTimipndpid^pe 

<% omni ticttrt iiif coUott;' dt 
<^r.l eu pidtfMber pmu».E>c 

jMrnljaaiarinripit.- 



o^!'ve?^o 



I leges fadcf\i«runt.q>-po^emnt.ut.>C.dcuctc.{Q.ciia. 
A_|.t.n4:7 sites fficit ittfli,in prob&tn prui. 
b &^^^i-i<lcrt gouralitf. 

c pt ougofti. qr (^ buiw pn«)0(itf djtlit at5oaeati«rtfi.Un5 
(jiflugeatfic^nwin 
mount ^iudBt« (ON 
igndiodf. til dittidiP 

l.<oiaira.fi4propo(! 
turn rdfideffltur. uti 

i([SjimaitiperOml 

rttfltsj.qpscbfeftra 
dit3i(tbn9p3(le(t3. 

aturadnitcleumim 
orejflods. nnnnnu 
iiAunu.? alithi da|:t 
7 itUb dnw^.T qnaf 
toad nuclciidalcc o 
oern'mpwita T m nial 
iittulcK antiqaom ti 
bromamArUndinest 
itaiianturi.iiitcordte 
Bifinite. ^f durioK. 1/ 
Hilquefntc.ZdBcne 
(kiniquciqnibofiiat 
!am tocis quedi Ltte 
bent iaixSntf.i.t^( 
(im^-icnttnoc. tKbie 
(ilifiitu-rfaas.7inar 
littbce fentrttfls (afii 
ni«nase7^»()rc«r 
pftt. TRobis trajulic 

(fj^tdM. nnde i^k dtntur tr«ki« l«0 cnnrte^itniit J*<i y>t 
c (T£fr[%ti7e^ bfa.i.qD dipC m mil . pit t»\lkf qiub fuent actot-.fi 
ne (dpOetDT.qr {ttlDe(anust<UHS 3iifim{. ut inRi. dtiloiui.f^ cfl 
? «liitd.3tqQen{i)km.i.ot3 ittteraiBr^ antajoori prsdcn^. 
qBCmtmtto.i.aicoUigati&emactoeuuiitnD nolntne.Qeil^ff 
ptr fe patct.qr mitiort pediia pottrK.nuc emi 1^ ^- r qr aiitir 
iiifd pot q' aliXtti psiti pbiloibpbic titpptMatm- . ^ qde; erbice 
qr ds moribus tractdt boc uduinen. i;ruc AUaduc tiolumma. 
(ie ^vjlios.? lure ij-ica- 
-"iM^Kcrt fldiffoido* 
^nul^^nolhit fablUntis luhs per drttiMonco qof diai 



Hri 'ope 
ri<}«Diru 
prtue nof 
koy.6\k 
nomtn I'u 
v»9 dffccn 

adt a tufh 
■ aa apptiioir , ua at elcgatn* 

Lclfus difKni* '^aseft ars bo 
ni *;eq<«a«>' mcrito^enos 

i a«rdoro ' apj^cUai. (ufhcfi 
Uiasjtcohmup' '^♦vont'ic^tio 
'rir(a,pfitfli»tfr;"iqttu ab iiqao 




rur. j.e. ^. btth;s ^d^.? <f (Oat oy iffoptic dich.i- bca 
ftc: C.de bo-Que lib- i-co ^.i 9rf • « X.de rap. Btr;t.f. $ 
_ i^.n.tc.eadccerj) &5.ut.£iac«p.T.PoftU.r«.l.6. 
b^aittfiicfa.edoatfiiuflkisfKUta m»t!ie fa«.crgo^njsfiiH(tli 
fiiida q>u>6.rcdt:6irs.|.C'hifiicuiiibiiasrutim(uu];tnb 
quo ccnisttiir q? ftati rat (lie p«^|^ fittf mf^a. M dk i 
am .{ bonmis inmt5.|tel J^ prMit in actoM ? cbtisBt 
dico uis t toJlla^i appenen.!icn{/as di arebont 7 equi 
cr^^tioom b^ matron.^ hfc fbbfeit.nam w- 
O^^^ft^re* boc pot fcodUgi Wbn« mod!S,t>»*'"' '•** < 
Bi3 iM in |!mere.9 & eft ar«.<.ftitnlui finfts.ffite «rMt 
nS w«di o mitmtis fiiiita docima f; ^pbpnti. Sc£o 
btqiiS!«)etQ)K)cten0.iitpr(tonu ufldmk.fMttiraU 
tw.T tik ponttw pw ptoepto <o«rtante.M b<K ncn p 
^ partes iuro noa fttitt ditcor fed 6rt]^attc«. Uel tat 
aiiifidS.ndmau€torMin6ci):bomo.tu/lKted<a6.'Z e> ^ 
ni -r cqiii.i.dus qi (A (quo % n)lEle.7 no 9 altiid eft S«n 
t(f tqnte «t bk.tftcaf qooddam bond 7<qttu.«."j. fro 
tn»<.mmibomJ.'?non«q«oBtaftuapio.Bt,yie afa 
•2.y.<k rtg. w.tifft ftaturah'.ifl 8ia.eft{inFt{u eona j nt 
7 m aic darit . 4ebu(t dtent tft tot^rni boaom cuiue cwa 
Ajiwrn. 7 iKud ril non bpntjtti . ui jC.d< pat. conum. J 
<ftijaC|uo tqtiiua.ut.y.df ftir.ri <tnitt»cdmBH(9.$.*-)di 
I ^«ftr' fiici' cUtts »J refrratw ad ms hei dfejii? nwiJ/ 
m«nispi'i!!iurimauitmnniu» -ipprUarifamim. tin 

Jf^«fnU'rc3 qfut fflffrdotCB fan-a Tnjftrdi t ;>fi:l«rt. 



t\ii<$ fcibnft ftctftfoe irt danda pwftened.Uc 7 noafe faidi/ 
«4tido ut.j.c.iiifoffa.ftccurfittd, 
m^JtoUmuo.i.ciuou&luntatf ierttuniii^.qitc cR Qtiuefuuffl 
cuKp tribtt^Ciir.ut.f -c mfticla.^.pHmo. 
1 0irrtitemttr4'.do<cm'. fiijunra «b.? in 5cl&u» Pm >. 

o^3ffirftu.iirm 
motnmon^f.ut 
Jde ntu iifipii. 
ftmrg-. 
p^Satepenar. 
nutnAtqittsbo 
nad.atitra&lac 
l^larata.uc. 

Oqwmator.J} 
tc ub<cunq; pC8 
aiuse cfi nictU9 
malto;(:. ut. ^ 
hd.l.iar.repcX 
i.pfinio fit W 
ctX.proqiub? 
(.faui.propffli 
libq-.acri. per 

7 iina-l' atuir 
tutnm. rdc f« 
snofieUbcU'.l.i. 
t.j.adrHr.latl 
pe.^.fi.7rau(. 
dc noa ialt.f.fv 
coU'.q.i'ndeua 
fn6.0dmi5tpc 
cutt bom uirttti 
flmpf . Odcrttnt 
pacai mail for 

q (Vn[nlafbr.na!i0 modo foiitmttr.nl ctmitg foptenba tid' 
^Mofq4»a df.j.oinor fapinlie.jtpbitoa.qao dlaroor, 7 
fopbio.HcJlfopienc's.uc.y.dejjaf.Teytraor. cog- la f.^ 
indc.lkttpaiinu r6 abtdamo^-ut-T-de a<.<.mD-{-ibono 
ribo6.^.pl«Io«bpbif>-7fiWft- C.dit4tQd3.[U toir.l.i.7, C 
^QStt^Icte quod agirar-ccr toSum- 

r ^pwfeihtdu.f. jarw ftKd» qneraididac ff fpce.pwut dia 
lotapsaunt 1j3em.RO preut legSk.qua potts pomtur 7 ge 
ttUB.Rii no roacrtitur hn 3^.7-p.lj ddijm dkant pla. itr! 
IcjafTe y fpc9 f w pofitioiics dfceroitur nsfup (jbus 19 tree 
tat.tlamcoftsrctfpcoccir.fmitas. com fupfr Biujtotrac 
t^ \-}OCim.'i ft) per feruts 7 kbtns.Midc r^benduiitcoj 
7£icit ad benr.^.infctuc.destuhrta «»iar , §.but«3. 

r 0^ol!!K)nc9kididimrion{8. 



ftpantCKUdfit abiUirfto'.dif 
(entete6:bonos nofolunutn 
penzi/tieT;:. ct'prmiof qg€)C 
bortationc cf5cerecoptcntc9 
uera »wft faUor ' pbUofopbu 
itoAnmlaraiiffcctantea. ^tt^ 
ino ftodti ' do< ft pof trccTTpo 
biicti-f puace.^ubUcu ins e 
q6 ad ftfltii rci rojiuitc fpec 
rat . ■^ritiatu q6 ad ftngutos' 
utjtitaic.fr.n.qucda pubkcu 
Ciidt.queda pnati. puMicdip 
in facf t'a' 7 facerdotib's? » ms 
g»ftratib5 coftftit.Jiu'iuatu t? 
mptjtij ■ eft (cUeau dl c«u5 £ :p 
Kanialib'pcepiie:' aut «cnri»u 
aot duilif>$^ (JJaiettwuralc c 
q6 namra^otg atm-.ib'M docn 
it.lfla ine tftnd ndffolu busna 
ni goima ,ppu <ft: fed ofujti 
mr»liu''qwi terra: que jcrio 




M77-C 



VENEZIA M.CCCC.LXXVII 

iynrl-rrj Ciccadcr VenefiJ <:ukiO£Corre«ftionttaLluclicurno9n? 
diIigeii:;adci;.-unom uulguft a ixudc del CTsniporcutc Idio.e Jc^ 
beico fan Maic'.io proK<ftcr« nc' >ro ; Capitulo priinQ 

I 'Si lUttore rum h adiudor' del Ber.to niiTer Sadc 
j Marcho goijci-iacore del noftro ducato ; Lo qual 



55 




Jl per promeflicvdeij ceielhai gratia eanoidato:&C 
'<J^ S«Sr^' ie bjtaiebudameote compimo; S^ordcnando 

* ■—'■ la pace cu3 rafon lo flado de Ja noftr a pacria piu 

honoreuflmenrc fubft-inema : Vnde tio» icuemo a lo adiuftono 
dc dio fi ii nofliri animi chc noi no fe fidcmo dc 'a poflaii^a noftra 
ne de ii nolln fideJi ma refcrimo ogni (peranja «]a prouidcria fola 
de la futua crinicade. Vnde Ii cleihti dc qufifto mondcJfotto una 
nuuola Si no proccdudu 6t intcrra la foa dijpof cioc e produdta* 
Ec per clie in le cofe non fc croua aicbuna cofa li ftudlofa como Ic 
uenerabile k^c per le quale cofe diuie &c hu^inc e dcttCc da Ic ne; 
?< cu li foi dilcajjrnenti ogni m'»litia (e rcfrena, Eftimamo nccefa^ 
rio:utile;ponibilc;Si hocfto ad afFrcjarfc a ]a lor uw che per paura 
de elTe lo ardir humano fc refrcna &C enn^o lire in (ecura la inoccy 
cia U m quelle ne fe rcfreni lo porler de nofer per paurs de la pena 
per le quale le je fe rendera ecia dio a 3a (cuno foa ragioe . Recholie 
mo tuci ii noltri ftacuti fadi da iioi & da h noftri prcdccellon agro 
pudids ranca confulione che per la (oa indeUca compofirione dc 
obfcruatioc de ccrce cofe laffado ftar le alcrc (pe(To Ji noftn ^udefi 
uacilaua. Per laqualcofa noi lacomo nepolo per la dio gratia dofe 
dc uenefia fopra copofition & reformatio de li nodri flatuti.fefleo 
c5uocarc li nobih&idifcreti hoi.Pantalonluftmianopieuaode fa 
polo rTho.io moccigo: Zuae michicle SiStefano badoer;Li qlicu 
fidclcadc giogiando piufo r ccfc i lo noftrocoune i reformation 8^ 
itado de qilo la (oa {chjata concinuo uicne aci^fuda : Aliquali nci 
comeceCTimo cctifidado chc lecondo la lor florida prouif oe elli do 
ueffe quelli corregei^: fchiar3re;coponere8t far tuto qllo che ellico 
gnofccfcno bifogaoala prefctc opera p puidecia di quali habudo 









■v^> 



'477-D 



56 



L'ARTE DELLA STAMPA 





DO pfTumefe quefta e(ltt fta doluta de aicuna pfona ^Eancora a di 
U'tdi fmi h hotnli diccno parole idigas da effer rcceuute & eller au^ 
tececaci J caca cofaquaco e la uniuet fal.facuka dajcu in la qual la 
iufticia e rota da la piu parte da quefto mo p la uia cuorcuofa. 

Adi fopra fcripco m el grando configlio 
Confuetudine itiexccuno de le fnnc fopra gailaldi -ft^ 

Nuaiuic hec cofuetudo^ in ex'ecucioe Cnaa^ (upgaftaldib 
i nesfmegaftaldicef&pcoefeo^expellutrfpofdiioc mul 
COS pofedeces domoffiue pdta accq illoraudiat& mcelligac 
i] tirulo & lure pofidec ;^ meretur c6reft»6ej ^pterca faccitu iit^ 
uigore alicui? (ntie q no fit de domo predto Cue re pofefla ab ahq 
qrh tales fhtie ioc di^inite & aceq fiac audiGtur audiedi ;no podic 
ali^fde pofeflioe ahcm9 rei ta in hac ciuicace ^ extra expeili niTi 
pnus citetur & audtatur ab Cupra gaftaldionibus. 

M cccc Lxxvi adi xx oftubrio in ei grado configlio 
Sopra fl ^udegado de procuraton 
Le noto a tan cP qnto mometo fia il judegado nro cf pcufatori il 
ql folo judega tute fote de otrouerde Irql tJiuerfaliter judrga ialtri 
officf Si. ^udegadi del pala jo nfo m mo cbe la ma36 pte de ie litte 
;portat2 fono judsgade al diSto officio & po e neceflario pueder t 
Ladara la pte che oitra cute altre utilita limicade ai judefi del dito 
officio hsuet debia idifti 3udefi de cadaua fncia a Icje terrainatio 
che ai diffto officio (era oteftade e che o^benderao da ducati *oo i 
pfo ducaco (JO :8iC qlle da ducatu ^oo i fufo ducari do de chadaua 
tncia no pofcdo palTar la fua cf ducati do.Ie fiitie fafte otra cocfla 
rie:go(jernac!o;c fornifo al d;do officio fcra oteftade hauer dcba 
difti^udefi due. ilo p ceto e no ohn&i. pche Ic cocfatie i^ no pono 
p la forma dcU leje noftre tuo fntie uoiijtane.sja dcchiarido che 
de qle cocrTari o coitenci ofefafllco el debito o dirao coe ifoleao dir 
f\2t rus ch? i qfto cafo ditt yidtCi no babiao cofa alcua.La eleftio 
ucrc di d fti 3ude(i dccetero Ce fc taci pet r ma de elcftio & p scru 
tinio del fercnifTio mifer io doxescofieriiSi caui de xl iquali judc 
(i fiao tenuti de jprouarfe di' anf \'<x • Finis . 

Fenifle Ii Ibtati & ordeni de uenefia ftapadi pet magiftrb philipe 

de piero adi xxiiii de a pfile M cccc Lxxvii 




"-' %Jk^ 



VENEZIA 




M.CCCC.LXXVIII 



57 




jOiidmiductiuiii )tii' iioimnc iiitiocato. 
"f^fahaii o:do in if a rirum quctn nunc 
romana fcruat ecclefia indpir. 
aooiiurucapnmapoftoctaiia epipb.i 
nieufqi ad fcptudgdimaj : 1 a kalendio 
octobu'a ulq? id aduemiu fubfcripra in 
uitatozia fingnla fingulia ooniim'ds) Die 
bus dicimtur : ira umen tf (i oponucrif 
ulrimuin iqjctatiir. 

Jnintatojiutnpjinmm.'HIcnitc ctnltcrn'' 
Domino: iubikm'oeo falutarimo. po. T^ic 
ocaipcmui?. '^nuitatOHii fecundurruT^a: 
ocaipcniup tiaricm oomim: z I pfalmie iubilc 
mueri. pf. tSmitc . "^InuiraroJium tcrriu. 
t^uonii ocuii magn'' oominue: •z rcy magn' 
fupcroniiico oroo. ps. 13ciutt.5muraroa 
urn qiurtiini.^fn maim tuaoomiiic'omiKC 
fince tarc.pe.yUnitc. ^nuttatojiu ^..tu5. 
"idautt adoKmue oominum : qui feat no3. 
P9. "^autt. 5nuit3toau5 fcyium . ©omi 
num qui feat noe'.acitc adoxm'. po.'^cnitc 
ifeoinmica p:imapoftoaaua cpipbaic. 
3fnuitafo;iu5.X3cnite eiultcmus oomino: 
iubilmi' oco falutan ni^o.piJ. ')|ba:ocajpcm''. 
Sbocrauacpipbanie ufqjad Pomiiu' 
cam pzimaifi qaadragefimc : z a kalcti' (i 
die octobiiaufcp ad aducm oomimfc 
uo dicimn "Sd nocrumuj. 
iR^^^dicp omniay. 
quomundua qiatcondi 
tutjruclquo refurge^coR 
ditoz:no0fnoac uicta libc 
ret ][> u Ife pwcul toipo 
libus: furgamus omnca ocfvstz nocte 
qacramm pid: ITcut pzopbeta nouiin'i 
[ ^ o(fa-a0 pieces utaiuliaf:ruaq;de;cte 
ram pojjiga t : t cjcpiatoe fo^dibue: red (j 
dat polom5 fedibuMjfi qiuqs facrarif 
fimo.'buiue oict tcnipoie: bojia quieti^ 
pfallimu0:ooni0 bearie muncrct J[am 
nuc patcma clarita0:ie poftulamue aflfa 
n'm: abITt libido foujidane : omnifos ac 
010 nojriuo.l]^ c feda fit uel luba'ca: co 
pago noftri cojpoao; p qua aucmi igni 
bus: ipfi crcmanur acriu0.O b boc re 
demptoz qucfnnua : m pzobra ma dilu 
fld.'uitc percnnw commoda:iiobie beni 
gnc confcrae.Qito canw actu ejulea: 





effccri ipfi cdibwtut prcdolamur cer 

inmmcloecanamua gloar. prdlapa 

I ta piiflTimc: pamqs compar unicc: cum 

=;fpiritu paraclrto:rcgna0 pa omw fccu 

^,lum.ame* :^boctauapctecofteeuf(:^ 

•^ ad kalcndan oaobrie in oonu'm'cw t>ic 

Jbuefiibrcqiicnobf.Gim inuiutoab fe 

, qucntcdicitiir: !3d noa^mjitaioaum* 

i:j,jHdo2an' i>ny. qui feat noa. pe .'^atcbj'. 

jjs; St. j^ac furgcrea uigilonua dc6:fei jf 

/^il jipcr i pfalmie mediiemunaup airi' 

Plbuetotio One canainus ouldtcr bpn^ 

:■ 1X00, C«lt pio regi parttercanentcorcum 

;, fiu'e fanctio mcreamur aulajiitffcdicc-' 

ij; "• U fimul 1 bcatam Ducere uiti If^reftct fffRicj 

«;; boc aobio odtae bcata : patris'ac nati: fev' " 
■ paritcrqs fancti fpiritu0:cmu0 reboat iti 
' omni gloaa mundo.rHmemi jn pamo 
1 nocf.De aducntu aiit.'^bua ccce rtx cwd 
', fufl.pe 3Qcat'' uir.pe. l^uare fromicrnLpe. 
©onu'nc quid mulDplicati. pa. E>ominc nc i 
fiiroic. S>e pfalinirta. afittpbox Sermu 
eomino . Sub Dicta ant. dicuntur iidem 
pfalmi.Zcpozc pafcbali aiit. SUlcluia. 
iapia rniolutiie eft. £t fub dicta arit. di 
cunturpfalmitoriua pziminocLzficm 
al{|0 noc.rcru4tur idem odo. 

|£3Z^S uir 
jquinonabii'tinp 
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[ill Ilia peccatoni 
fnonftctin'rinca 
' tbcdra pcftfletic 
no fedit. |@ed irt 
. Icgcoommiuolii 
_______ Itaeausr'rnegce 

me meditabitur die ac noae. t^;^ t erit ta 
(^lignii5 quod plantatii eft feme decur ,j^ 
fun aquarurquod fruaiim fuum oabiti 
teiiiporc fuo.Q t foliii eiue no defluct: , , ., 
1 oLa quccuncR Yaciet profperabmtmr. ' f^ v. 
> onficimpiinonficfedtamppuluis 

quepjoifcitucntueafadeterre. X deo 
non refurguw impij in iudidorneqj pec 
catozeo in cofilio iuftoaim. (a' uoniatn 
nouit oomimio mam iuftow:i iter impi 
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ll^ater am 

bioMtmnvhinm 
mifculapfcrenddm 
litrunuliruauilTTa0 
Ifasqueapjindpio 
a?nicitiamfidc^ba 
tciQi]i(iddzvaeh& 
Ljmicitie nouapferc 
bant^ra.n.illa nccdTitudo e i cba'fti gliui 
no copulatarqua no vtiliiio rei familiane: ii 
pnm tm cojpo:^^ iton fubdola z palpas adu 
latiotfed dei timoK i diuina:? fcripmratJ fti 
di^ codlianr.llcgi'mue m reterib'bfftouj'tj 
quofdam lulfralTe pjouindaomouoradiilTc 
ppfos : maria nanfiffe ui eoe quoe e^: liba's 
noueranircom quocp viderct. ®ic pftbago 
ras manpbmcoa rateorfic plato egf ptu5 et 
arcbfti tarcn'niiclqj oza ualic q quoda ma 
gna grecia diab^t labonofilTinn: pagrauic 
ut qui atbeme manlier erat i pot&rciuufqj 
Doctrinad academic oymrndsi pfoimbantrA' 
crct peregii'v' arq? difdpulue malens aliena 
rerecudedirccre:q3 fua ipudet ingcrere. i^ 
niqg cu If as quafi toto o:be fugierci? pfeqmc 
captusapiratie Tvmundatustfrannocm 
deli'lfimo paruicducms captiuuF rincme et 
f uu6:tn qi pbilofophm maioz emete fe Mu 
"Md timm Uaimi hctco eIoquc?m'e fome ma 
nateni dcultimiebifpam'e galliaruqjfinfe' 
quofdavcmflrenobi'lea legimusetquos ad 
comcmplationcm (m roma non ta:cerat: vni 
us boia fama pdujcir. Sdabutt tila erai? inau 
ditu oibus (caAifft cdebbnduqs miraciilu: 
Mt urbe tanta iQrdfi aliud ejara m bem quae 
rem . 3ipolloniu(j fiuc lUe magus ut rulgus 
loquitur fiue pbilofopbus: utpftbagoa'd 
Jradtitrirram't pfao ptraJifiuitcaucafus: alba 
nos fcytbas maflagetas: opiilcnnffima idie 
rcgna pmeirauit: TadertremumlaaflTmo 



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w grmnofopbiflas t fsanoMtmih iSurmc 
fam vidcrct i fabulo.^mjat ilk vir ubiqj qd 
difceretri femp ^fidcs fonpfc mdio: fieret; 
^KTipfit (up boc pldflUme octo rolimw'nib* 
pbi!o(!ratus. CjnT 

4*7^ ^'d loquar de fecoli boib'': cu5 apliie 
^S-^aulus v'as decn'onic i magifter g^ 
g dc conTdmtia tami in fe bofpitis loqucba 
tur dicens : an cx:pmmctu qritis das qui in '' 
me loquitur cbaftus: p' damafcuj arabiaqs 
luftrataju ^ccndit bicrofolfmam m videra 
petrum:'zmafitapudettdieb''Qnded:' iboc 
.n.mj'ftmobebdoadiisiogoadis futur*ge 
tiijpzedicato: ff^riicnduB erat.iRurfumq5 p* 
annosquatmoidedm a/fumptobamabaT 
n'to qcpofuit cam aplis cuangdium: ncfoite 
i vacuum curreret aut aicurrmct. lE^bet nc 
Tag quid latenris encr^ riuc vods aa^z in 
aurddirc^>uli de auctoisoze traffiifa foaiTo 
nat.^ z dcbince en rbodi cjcularet z lega 
ilia dcmoftomisozatio: qua adiirasdi ba 
buaat:mirantibu0 cunOB atqj laudantibue 
fufpiranfaitriSuid 11 ipfam audiflTetif bdlias 
fua verba rdbnantcm* ^ni 
y4r7\Sc boc dicotcf fit aliqd i tm talerqd uT 
,X_ ||pofli9ame~audia:udrdirdifccf5quo 
ardoi tuuf 1 dikaidi ftiidid ena abft^ nobif 
p fe ^bari debcat/Jngeniii &odIe ifiheooc 
to:e iaudabile cli HS^quid iucmanfed quid 
qucras confideram'.-^^dlis ccra z a foana 
dumfacikTcriiriartirinr'z plaftecdfent ma 
n'rtamen uirtute rotum eft quicqd ciTe pot . 
'^uludapo(lolu0 ad pedes gamalidis le 
gem moffi z ^pbetaa dididlTe fe gloziaturr 
ut arm3mrrpiritualib'teli0:poftea Doceret:> 
fi[denter.3[rma.n. me mflitie non camaiia (t 
fed poienfia dco ad ddiruciionem mnnisio 

<l^iblia ipielTa fi^enerfe 
opera atqs impefa IRico 
lai^cufon Pallid i 





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'4 79-/\ 



VENEZIA M.CCCC.LXXX 




t-.-darifflitji isdigiofl fratrte ' 
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^«l» fentid vice oeciirfue in qiisituo] oJOingiiif -f* 

tempuo txiii Atcis:renoaa{6i8 fiuc rtuotario 

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fcfoa-Uii t tunc tegif Kber gend)8:in quo po/ ' 

nitnr oeniatio pmozu parentum .Xpe ren<y 

nationie flue rcuocatois inopit a "iX^oyfcx 

cnrauitTfQjadnatiiiiratcortinfi Jdatbi* 

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obadnftnpnivfcB^ natiui(at££bh(li . ni 

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defta a pafcba vfie ad penrecoften.ri^ tunc (e 

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wcin quo cegrini -; in pugna fpmn (hmne < 

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codec Vfi^adaduetuj.vn t cunckgunf^libzi 

regu 1 libji macbabco^rin ^bns oe molcipliv 

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catur.ZccnpassutidqdcitatiacaUonivrcp 

ad feptna^cfima pni cim otitici fub tcpoje re 

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ntoi'K bfemoreferaf ad pnmir verad fd>m : 

tftaa ad tertitMUtamnnB ad qua< ru . £t ro 

appTopltois (atfe p^ Scio pence qruoi otei 

pwtta: vt noy rdwaf ad pmti. MTianc ad firfj: 

iiKridleaadteituin^perad quartn.liQoiit 

^ fnent oeoiatio & renouatio:i n cccta po 

ttn«uidp<t oia faa onicta in tcpoJe renotut 6 

nisqloeuiaiois.i.inodittcn poti'i^irtptua 

gefsma:-? boc oupuci rone . •pjimo nc vjdeaf 



ncipere aBcrro«.tenet.n- rem i no (eqmwr 
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tafunt:^dquc>dip9 idotcif t<^puB renoua 
ttonia.B potl •i':KCK uoua facio oiaJCdgru« 
<gif in boc tt'poie renouatoia eccGa oia ofR/ 
cia renoiiat.Ut igi£' ozdo tcpoJio ab eccfta 0« 
ftinct'ienief : pinoagcmnu oc feaiuitatibua 
q occiiiriicifrarpereiiouatoio.- qdtpscccTia 
repntat abadiientu vfcfe ad iiaciuttatem orii . 
&c6o oe iUis que or ciimit infra icmpiis qd 
partiinotuief mbtcpourecondiiacoiffpar' 
lim fub t Jpoje cegnnat6i6:q6 rps repfltut cc 
dcfiaanatiuiiarc vfi]? adfcptuagdiniaTCer' 
tio oe lilts que occiirrut infra tps oeuiatiois: 
q6 tempiw repiitac ecefaafeptuagerima vf(B 
ad pafcba.QnartODCitliflqucoccurnic infra 
tcpus re£on£itiatdis:q6 tpa repvtat eccTiaa 
pafcba vftp ad octaua pciuccoftee . Duiitto 
oe illis c;uc eccurriit infra cpe jgeg- mui ioniac 
qotci'ipitarcpncac cccto abocMuapenteco 
fl^tf tic0 ad aducwurt) , 
4i^ teiiipojerenouationia;': pamooeait' 
acntu oommi noftri 36^1 jCbaflu 

" r' Y^i'ttus oiii per quatuoj fepttmanas 

ntA agitadfignificidiicpquatuoilotad 

/ Jl_uentus .I.m carncan mcntc: in moi 

/tern: 1 iiididURj.Ultima.n. fcptinjana no fi' 

V nif qi fanao;; gloaa que oabu' in fltimo ad 
ucntii Murxg terininabif .eftetiiij' pnimn re 
fponfoiiu pir>c oiitcc aouenrue coinpuuco 
glotia pn:quatuo] ^^fus continet t vt Micros 
q(Utuo;aducrusoeugnci. 2.i(.aauc quadru 
akifitauueiituoitfTeccleiJgCtDupIici.f.ic.v 
ne'fadmdiciu:videf memoaa'facercrftct;;;! 
officio ipuic icpojis p!.t:>ic eft etia q; ieuiilid 
adacnt^parnme{lf;cultar6i9:igtinimcror) 
"Ham rone aductusiii came oicip ieiunium 
c]culta[dis.rotie aduciicuo ad iudi'ciu oicicur 
idimtoinero; js.£t ad boc innuedu; eccta ca 
tat (lie qqedi canticalctitie. i boc i)pt<rad' 
actum miftricoidic.queda ^o 6pon!t; i boc 
]P£teradnenton)Ceue»eiiiftiae tmerojis. 
i ^^ ifcaaductum igitar incarneouo videri 
pofl'unt.f.adacniertdioppoMunifas:zaduai 
nis vtilttas . oppouunicas venicd; acrendit p 
if parfCboi6:qH i pmoin lege nee ouictus fii/ 
ir t>cfcccu puiine cognitoie. vji z rune in pciTi 
moserro.n.'s idolatrie cecidit.t io coaccus eft 
amareacoiccrc.'Uon oceft quiunpieat : fed 
quiiubeai.ocindelexaduenu iubcne m qua 
cofluicreii ol' iinpotcncia. 3bi>n. foUimoiido 
cfterudinu-i'cdnoapenatolibcratno-'necg 
aliqti.i grcn> ad bona adiutus. £t to coactutf 
cJl mutarcjjpofitfi ac oicercTloii oecft q iuf 
bcatifed qui iinplcat.Dppoitunc igit fili' oci 
VcnitquadobotnoDC ignojatia lipotentia 
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dt'cogiioiVur. •: iim Jfria" 1^5 alic 
illiiiimao(cp.vuuuic°pofttiiiutc 
po:iim TpjciJ iiortneuictovje acf 
leili iiuniuic p.x'Oitifiitmuii' oitu> 
ni roni jc noliroqj ad Jitcimpcno 
pA.i(i:llitiu'''>tdiiiiice ucropopuU 
Icgibtie lam a iibbii9p»niiuga{ie' 



mac iii C(p jfts^d ouip.nujtncra p<auc <^ui ic^mmot) aanmcsrvuf. ' 
Kpciui!.Lvuli.i,|.n).7.vii|.%IdSKj;iiu^n''wx'atiraiiiiti'dp<3'quo$ 
Kira rcddiiiuniH part rakiu iim in outaic niii cent qui oxcnnoi niadatvi 
■aXx oiij-iuf .lj|.$.port oagmc.qm punuii m minuiahb'':puniiit 7 m n 
Hilib'^jK^''''' '' ' ™i»co:vtif.cc indijai quc.qnt vlnma ntio: i:.actur. 

b^litilunijjiiiitiirinuioicqmfjlfa ova .'hirer iiaidir.viff.ad lurpU.Luii'i 
p:ai.7 fjoc ad boc.ff.rtbi£> 9 no.»ifj.ail5laao.$.alLinu[£r:. gd aiii lil pu.i 
neaic! 7n.Ti«aa1a!0j ntimiui p:cdKnv li.abua. 

c {JlftciiijiofaUnmG.110 que ficn rdiijiolu per lcatp;njt|>fc (ul raerc: rt.6.rc 
lc^7 (o.l.iejco. Jre no bie quamioi ,ppoiaoii3lu.r.aniia; \iiue^ umop n 
ao:ia:inuinpbiict. JiX Icijes^vfuo Ie^'i:cah1nie paUio:7 iiuv> ntigo. . 

r4^uo^\iriq5.rtirtan'uceipiinpemiulfaiiiacqdC'alb.nidcu^nofnraq!| 

c4|SiiiiiuviJcllciifummoUbo:c ' 

I C5^''i'''' 1"" ^'^ lescv:naiii uia nude \vulajinbu8 7 non roaiuoiDbua 
finpm ethxTiiquc m frau-ai^ju^'iHud in fi.acair':us. 

g ((^louhiciUiaXqao ad aniia.7 i;o ncc. bomim-a ltam3aiic:iio:u p:eteri 

I icriimX'uniuip.'cfaiiiuni.p.'OBidcnnalanu'os. 
I» J74l3x''iicic oeo.rco jranao rcfcnuiiius miuiipbii nioint obnncrc: n.C 
lie. rvoffp:fPKaftvi.i.inp!ir. 

1 4\i& bdlieoo.iinod piaiicnm rncrjEWcendo %}ir.inq5 Tiaiii7cj|UncmH 
diiEiccndopMinoqualiKrfeblbuuarea.aniia.acair. 
^It'arbanct barban fui 9 cnra roniaim uiipcnu fit 7 iivauiuc boftts. 

I l, ycju cte.r< nono. 

nlJXim afnca Tubqiu mulKptouuitiecorxKtur. 
jTib:o'jiiitic.(ie ;>iinii.£iMi afiica qi olic inuinaabiku p:o!Jiiiae. 
^gter'i iduitci.adiin*: ^iaoiuronucj.uml<l:etoi'f)roq;iinpio)>oll7c. 
';t' tO-"''-''"^'' inu'.niif. viGoiuo 3 tcfc.nu.p:eft.nj' iltc ,puuinc p:iu9 ruenin: 
:> rwirici inipto:port rcSeriir. i polt ccn'i.yjitoe nchcri'ir'H l.vc iiiui; qfi oii 
Jicg-iqiTPic 6 poll u'la rcpo;; fpuu 7C.«.6.PC0(fi.p.t.px.a6i.lj. 

l<|)6ro TO. eilJj hue rtnt qualiicr I cllici oiri b.iba«.Tiiic qualiier Ic^'. 
(f|i>wfflul5aih5.f.anobia;7c«i>;noiU).7,pnnilMarce egiarcmrudenn 
lanux oeeuluni mf hqiioo mno.i.--. in pponendorocus in pwrnuluiando i 



l»^ST 



1481 -A 



V.ENEZIA M.CCCC.LXXXI 




63 



^^l 




uiCbafto i 

fcopo 0abincnfi . 
£imdo DC 3&atjl<> 
bonorac. 2(nfcidf 
jcoimefono cleii-' 
oie'ZcapdUn'aim 
ttcommdatioitf fiii vtrmfiT? bomrnfe fofpiiatc ac animi fiu 
loiai. : Dtbita coawftonc ancndat pi^feiio opoe. 3una 
( bt>iiB Hmbaifuim. ©mine raoo fupcmc fomtit !?d tore' 
tK orattirc m CO rftqm eft ororn aput T aaao!.«. jciivii. 
lx.f.fcdcc6ira.auao ma|iubuK:aiJ. Sivbiidrj caput oe 
cftqaod d^ fuiidamcnta i Upie ajigulons ibt nuUu5 born 
opens cdihau fapcdificanpotdlvtoiai £>rc30.i.q.t. qi$ 
']^auUin. 'Sid bonozcj crgoruinmctnnuatis ^ indioiduc 
vnitimi pans i filij iiccnoii fancn nuniuiie.z apoftoloaim 
pridpii! ^tcaoju! mci. ^ad kode i ad Habilitate} vmnafa 
lietcddicfpofc tT^afttquas Cbaftua oc' noftcr verc (Vdei 
rcODi fibi «mf ixiponfaiam i infaaam nrginc Icruat. xcvij. 
Duccdcfiewccquc enam irnjatur quatjurfluniuubiKJ pa 
radifLrtcolUgmir oc cofil'e.OLug.ccdcria. nccno ad laudc; 
tmcmonapatcnuiatw'.'cftrcqualargiloiaHuJoaij bono 
rum multia infiguin picdotauit co q- iplim fcccm wtutus 
opcrationc picdamin.bumdoaic pKditain.aiaii9dijjntcm 
p3ecm.DilTcnlioiii;3 1 rijaa i fcandaia pcaibai vt oc ipfa 
pafa9cb3t.l9u70.pifj.si.D)raa>iu^ibinpmt. £go qui 
too' liirw canoiiia pufi^iee inc rcpiito iniintnu 'Z puifuf 
mi'uffiaaue ad tanu onera (uppoitanda. Coiiftfue camoi 
CK mdltfljia largitatt illme qui oat onmibue afftuetcr I no 
impxipi.rst.i.q.ii-'Ppio-'Qiuwt.Stperioatmi'Scgoid 
imf>leboiUud.€iuic(iac3kuloriiniptooc abln fojpiccCit 
glLi mnndar labia impafcain billoacc itoiai. wi.q.t. in 
rotpoins.tn fLnon auiditatclaadia confccfoidc. fed ibm' 
UtefcminadcveniatiB. xnaf.q.<iit.obijcuiiif. Uivmbumc 
n.1 onus grandr fiibtrc p:ocuraui ad vtilirate ftudcrc voicn 
ttuin in aurco v^>liimtnc Dccretoa.ad meinoaam rcducai0 
^ nemo noiotur ribiloU.ar.ad bpcnij.q.i.in Fchpturid.ui 
xa paii.Ct ficut plnic iioiut wflra pauniitae gctmuni do 
tlDi aitcflaiur quofdd aUoquetce in hcc verba . "t^olo vos 
ignourc frotrcB.qiua palrca nolVi oiiiea Tub iilibc fiicrot. 
Dccoitlar».oi.iiii.iictqiJc<p.ii'raft.SedWjiiiox occnmi 
(ym claritaf c no opponcrc ,pcaraauiL multoiiee ignoO 
per ijjnoiiud z abler ^ Dcbeaiue^naitce. coet! id quod 





Mat ibicro.q) Wno iiicbiu.-u qui (criptans aim uiMli^ 
c^ fc babetrariLw.rt Icsitur.ipmi.oi.nno . £t Dint beaf 
Clemcne <r n roipuine non Dcbcmue qucrot fenrum ex 
innaur.iled tx iplio fcriptuns oebamis faifum copac 9e 
ciOiiauacaineQ'vbiquiovvasidicenifaUaz funulataoe 
dind:.n.e.Di.idatuJii. Jtdeotuinnunmofludtoi laboie 
ipfoaim noftrom patrum anuquom t modcniop rcuolu^ 
tMlomina fentcntiae teitualce. ncenon gtofarii comonium 
Dcdanuiona).riipplctiom;s.necnaaiodoras DifTicoltatco 
clicat pKXuraui.tnuaiiq3 reddciid quod foam dt vit-q-ij. 
(umocnotifl'unafcmuii.x l-vcfignaaddiiioriU} iglofaru} 
in lx)c opulailo DcmonnibuiiLSat fi que gioldic feu rcmif 
fioiico fine orto figno coperianto.'' m co quod boudiccnt 
ox> vr vcftra paicnuias foli pancipio wntatie Digncf aflcri 
bcrc quod Iihsoao balbuticntui (aot oiftTtas.'Z paliiignas 
infamiiiloquinirraTatc.n.iiii.q.iij.iiifi.^.rcdobiicif.'Ra 
1 omnie mundaia (aaiua filfo (ibt raidicatpiocpunopa 
(urn qui Ibluo pMuenit 9c p:anidaia tniutanc. cr cuuie fi 
utdanatriunipbamuo fiquavtrat inctfabilia piomulga^ 
inu8.9d cniuo laudc Dcfiat omiuo caro cum fu iiicompx' 
boiTibilts.Tt in concilio Ic^igencrali.ciE dc funima. tnm.z 
Meaho.ct Scd ^uie in opettbufbommo nil Aat adco 
bonum aul licitum cut non poITu aliqua pcrmaca UTOgait 
vt f'iia poteft coili^niij.q.v.DC ooidciidto.in fl Da ide 
paiCT qui atautt boucm ^ifc crcauit t ailia5.n.n3ii.q.iiij> 
qui fctondit came Xamenquiaingeniolum maun alitcr 
od oilmen non poteft pcrucniraveritatie nift boc altcrius 
cnTcnt lima p:auitatie.vt fecundn £>!eg . tranfumpaiie fcri 
i>itaj-.vtj.q.i. f. aimautcm.iuxtapiin. intra filentuxlauftra 
tcdudi ncfeimus.vti.q.i. ibt aduium ad compu cotamuu? 
oonfidattcracccdo.vbicatoai palm rauoioje feu oppofi'' 
Oonibua Dcfcnfabo: cofidenp cp liber tanto (it graobt t tc 
cepabzqnantoomnipcncDoctomaftipnlatiorabue pftat 
(ftefloudioLQri@ucmliqoidicanipumad(«ftrc pa(erra 
talis ^ita Difpofuioccrtiosuin rofarium nnncupaa'.vt ft 
cut rofa inia cdtroe lk)ies oborut psnopatiKic nofter oer 
tamihis campus picemincatimaaiiJa opulculacompofu* 
tmodcmis.mquofiipflttualibuscauiriAradiciiufl gt^iiit 
ttifcutiatur a palea. vuuim a fecc Dciixabuur. zcoloajin loi 
nonumt fccnunb'' no attcntis meo ludioo Tela \<aitati8 me 
duUa cuius eaniica finipliatas conhnct Sitcom'' ergop:ici 
pib noftro lil pfaw Virgo 2l2)3na cm piiopio.mcdio.atq} 
finiaJTiti^finita'SScffuancari' 3cl'ud)a(li. £ftoteergo 
memoie8b6elbtis\xflntmaaliqtioi>cftncapdUm'. vtg 
ba c&liaboju q fomiis ibactnita.in cdo poiTitis CO ange 
Us coUoQin.3(nter quos ui (iituro uidicio voe ixqniram. 
%iKn.boc au raum eft (iue eiu.dc (ofc,Ditij|.raKra.in (i, 

m 






1481 B 



64 



L'ARTE DELLA STAMPA 
















1482 -A 



VENEZIA M.CCCC.LXXXII 



65 




F<fdinando Onijtnla Editcrc 



'482-B 



66 L'ARTE DELLA STAMPA 

/CfariflTimi ^iri 3f3lftijhjE>ociicon $(ftr6nomicort 

i^pa&^tiUlUmmii ^^\ici\e0hcipit.^ 

fec^midi'?fpb|rae'sicvtirittrq5parnaoeclaratl6e 

£iber|\ I^Jinuia 

')|b2obcnitum. 

3^gintn6.XH>.^abio IfblurimamSawreitt 





1 


Mi 


^ 





1 6i l€ Studio grammaiicg art^)5 
inductumo folu vcr'fuu moclcfatcb 
nc qi^a pauci^uidcruf.fed billoiia 
ru3 quoqy^wietatc'tqua fcientia re 
rom gfpkif pi^rtare vidcorqu^ facf 
Uus etia fcriptte ^pisjfpicrpotelt: 
ocfideras potius fciciitei^^ibci-a/ 
Icm tudice:Xamctiaomasfeejccr 
citatus: 7lioif)iuU(8etia f^ifs in 
bis rcbVcdpatus e(Te vi(^: lie 
nibil ill adolcf^entia labo:afle bice 



vcn-z impcriloju iudicio ocfidig fubirc crime: b^ vclut rudimcto 
fcjcntif nirus:fcripfiad te:116 vt ipcrito monftras fed vt fdcntif/ 
imii comoncns: Spb^re ftguraiioti^icircijlomqj qui i ea fut no 
tationc't ? qug ratio fucrit vt no iqutspanib^iwDidCTent'jprste/ 
rca terrg marifq} biffinitione:^ qu? pajtce cioatipn babitan^:vk 
maltis luftifq^ oc caofis bominibus carcre vviem&i^i^kwo/^ 





VENEZIA M.CCCC.LXXXII 



67 



ei^c»nDom( Oib€\h€ Cofmosrapbiideo^repbia: 
ll&zifciaiu quct|5 ejc oionyfio tbaiaXonicenli oe 

fim OJbis interbietatjp. 
I^omponij ^^dtaeocoib.slitu Hiberpiinms. 

KbisfituraDicm afgrcdiot impc/ 
dilurn o|>us « facund^ mfnime ta / 
par f onOal cniin fete ex gcntiu lo 
cozuniq5 nom'nibusr? co7um per/ 
plexofatfs oidt«€:qu€m perfcqui 
Ionise magic q^bcnigna nifltcria 
Ikrum afpif i t<?mcn ec^nofnq} W 
5n((Tiiniim; tquod fi non ope ingc/ 
^^ niioaiili3:anpfafui(6lcnipU!0> 

JS©!S^tii^i!S3ll "^ pjccium oper? aifcndeiitiii ab/ 
C— -— ^it.rfiH folu-at.Dlediiiauteir.alus pluraet 
cyactios . 'ilanc autan vt qatq^ ermn darifTima c nrictini ac pmo 
quidem:qu§ fit foimci totius:qu§ marlme paftfS.quo fingul? mo 
dofintiv^jbabJtctitGjcpcdiam.-JD^flderurfus ows omnium ct 
littojivt intra orflaiqs funtratq^ vt ea fubit^c clwumliilr pelagiw; 
.^ddihs quf ill nahra re^ionum iiicolaruinq^ immoianda fuiit, 
3dquofaciliu9rciripo(Tiralq5a«lpi paulcattms fuiinna repe/ 
DfSmdi in quattuoi partes ^lu if io. 
Of3"f tSitnr boc [qirfcquid €ft : cui moudi ccliq} no/ 
men indidi'mus; vrium id eft: z viio ainbitu hcsin/ 
claq3 ampleiriliir. partibusottVeit. 23"d€foloaiur 
OM£nsnQncupatur:jHitouiis.quo ocnurrgilur oc/ 
adeiis vd occafu3:qua Dcoirrit m«rtdies. ab aducr 




tetur. 





1 

i 


X ^^pv -JBl T^B^^^^^^d 


1 






1482-D 



68 



L'ARTE DELLA STAMPA 




VENEZIA M.CCCC.LXXXII 



69 




70 



L'ARTE DELLA STAMPA 




FieuialocorOfictoiiitciii-Cix'Salijecollfilcsjp ccn«0 locil inacmo < jiiinibcc ODjjari fttjlhnueitl. 



VENEZIA M.CCCC.LXXXIU 



7> 






'ncipi£ cpifloU beati E >icron fmi ad ip auU 

terum &« ommbiuj Diume brftoue ti 

:tulais 




ifUtcri^mmonue tua 



mlblmunufcula^fS 



fcrcnft, eciulit 
(tmul :? fuautni 
!nad Ifao.q ipiuipiotaniiqriaa fide 4>bace lam 
fidci ^ vererw amuirif noua ^firrcbant-^cra-n. 
ilia neufCitudo efl ijcpi glunno copulara;qttain 
no vdhrae rei fafntlian0.n(5 pnria rm coipo^r nd 
fBdola -t patpae adulatioifj ^a hmot 7 oiuma^; 
fc^turap fhjdiaoriKant.legim' in v>ctcrt& bifto 
n)a.qoofdi iDllrafTc 4)ouuia3.no»oe adi|lTe po 
palbe.mana rrarij ffc vt coe qaos ex Ubxifi nour 
rat.coza quotp vidcret . ^icpftbagoiae mepbi 
ncop vmee'Sic plato^g^ptii i arcbfta tarennu: 
ea(R oifiralicq quondamag grcciaoiccbai :la 
bcmoruTime paguitvt q atbct3 mgf erat t potcs . 
cniufi^ Doariaf acbadamic g^mnafia pfbnabac 
jAcrct pwria' atqj Oifcipulnsrmalee alicna vere 
TDude oil«^ (na impudcrcr ingcrg. «3cni<B cu5 
trae^ftroto o^c (u giftce pfeqf *. cslpr' a pirai? i 
mdcUiiimo paruif»oua'c3|> 
etiir'ai t>pbam3ici<a»«fiK 



ou il!< yir vbug qi oift 
lio: fiera>3c^fit ftp B 
bu0pbiloflraius« 

O'lltd loqr oc ft 
j0 V33 ekoic 
cif\ rann in Je 
ann:pu!itntu qri^ei' 
mafcu:3rabiacB luftra; 
iVtvidcrct pct^:'znuiU 
teof .n.myfteno bebdi 
gcntiu 0dicaroz uidrtu 
annos qtuczdcci alTurr 
Init cu aplts euangcltu. 
aut cnaimflct.lfe5 ncfa 
pocia aa'-z in aures oii 
fiifa fom^'Ibnat.Jsiri t cf< 
ret 7 Icgcref ilia ocniofl 
CD babucrar:inirannb' 
pirans air: ^uid fi ipfs 
barefbnantem:' 

^ n wofTieamcaa 
J P^ardoztunsir 
iWp tc^an oebcat 
aoic laudabilc c.'Won 
pfidcramus.dfeollis c 
cria (1 artiftap 7 Dlafte e> 
rum c qcqd ciTe pot.lp* 
«iaUeli3 lege moffi -z p 
vt armaf fpiiahb' telia 
Srma.n.nfcmilihe n6 
&C0 ad Dertrucnone mi; 
ftmctcs z 0C3 altirudin 
fcia3 i>cu7 capnuaree o 
dii rpo:-! pati JBmgare 
tbcu fcrtbit ab infantw 
taf ad Ihidiu Icctoiq n« 
ci p impde.s man''p)bf 
cetera^ virmtes epitq 





72 



L'ARTE DELLA STAMPA 



_ 2 "-' •• -* 




Q^gojolurmiklirgfcgfmpnoabulitifcneeil 
rj bflbcbUlum* we.£^ lu 9 icftimoniu Ebibw 
I oc niripfo;«Mrtimoniu Ebibao«nicpr.£ go ra 
I paft« bonSrtcDgnofeo me«6;t cogfcut me met 
ego fa t^arperitae « vira memo vctt ad pic?; nifi 
pmgJEgofomvifl8'?<rfl;(tparcrme^agrieota< 



ll »j O J5 ^ 

S C » Si ■ J 
^ s- 2 ^ 

„ 5 s 4j .^ 

t; w c o • !• 
}< w J' *• S 2 

gr: -o 's o c 




f^MA eft imbi omnia poceftas »n ceio iy„»:5g-3S,j5 

■ ■ ■ 5 ii s S s- g K. 



Sci(pf>tifl 
cuftrmotf 
eo.Ajuitttf 
berodt'sra 
■ detfttaccrdf 



o 5 



11-^ 







s O ^ 9) 



•^ ^ a *^ iS 




illlli 



5 
ib>A UIUJ Uimjtq0»083?333ig'3JtPP3!3-" . 

^>ui aijpdf:o3n30i}3 i:oqjJV|03:sm;|!Ujiuoq 
ut«u)} aiu wiijOJ ^9}0 iPiuqsS u) 9J3pd ^dioj i 
lU5>PlK)(finbr3J3Uf!JtW<iUbii $^'9J9pp>o]tid v 

I jyicioi^dw? :npp30 B so? i ouiu 3JiioiML:a<|u|03 
bn3y"w5iiduiyi:pwdi?j3tj8»»fmido»xj>36ti3 

^S;a,_-^ jiOdPlOtP^m U1 83»0 3n)W aOA onitU 083333?Q 




■!3 

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Scripfitin 
deabfbtsu 
I", // Ivibcr gent 

\v J/ f5ta idu r| 



IDflttbe' 






I 



1482-A 



VENEZIA M.CCCC.LXXXV 



73 





t»,^jtiOAdmitimman»n J7lracft;ismnosdclc>mii0 
nmtotf /lMtniffa5# Jntrcatmt r»rgere.*63cca»rj:>jop«c»jdhr9 
~~^ ' ' ' 15jf IdiaaiftMS ftrafaiu^qwmojcreduhmtW!/ 

o9tKcof%jono quaint, i^biidamodergoc^ 

^deantmetni odificutiitOtebondledinbuie' 

_^, m(ci\ndcKntm miwi. •iBonmcDmcfTanombas 

^tBerfiQtMjrpfdat no pfbudciimr '£<l»iet^nbii& » 1l^ incMbili' 

^, ^lastuadDncDanon^Qinil}^ tnie^cCimpudicidla^lSonmcott 

ffoniradmadedocem^Skqumir rcnttcmcieinulattOMeiS^tit' 

Unediatc/^. 0mi9psar\, €bfO dniminidfimidmn^m* tdr^t 

fmtorqxntUrdtus, Sidick' tSniucrftqmtccypatamnojKofiia 

uat«9nto9mcs»54 iCttftcinOfiJus dajruroom'us.'^.'aSiasnaettoink 

rcpcrcdtttroitu (ioDol ^rorum norae facmibijr fcmiras nws cdoct 

4ntm^cQ^K^Io^i9pan1« p^ mc^iUi. '^' ii^HTcndenobidOfie 

fn^rycriat fefltebupIicibuB/ mtfcucoidiiimniam 1 fsiluoretuum 

ijSfltaqdOOniinc <^fo* t>ai»obi0* ^Skqwnti^(smcti 

^>potctwma5Ttiaiutttab m ati^ dti fc»m UiOtnuxtLob 

fmni^b^pecfa^nforn pert' ■ Ttliltorcpozc; BtWrteAiQ 

^a)U8rema*eaimir;preacr<eri' JLufcipuhekie* i^mntft' 

1^ ^tcUberatc(islmnMnimm('^43fuim (oktlnmtfidlisnita 

^'^ M>bM^n^ce^fii^^ianati rispzcffysra gmtmmpitcotifn 

I uitati6dmpoft«ancw5t»aiH' fioncfontoieniaris^fliicftittjj 

Wtt ttfoft)t)efcfaiTwrtaX;gc?4d2 ardccntibosbommibijspjcrt 

P) br^nwrt'gCcrtiaofootat'^c ntwctcjcpccrattoiiaquciupor 

ckfte fiiout ©e^oiuj^ 22?^ Mfluentum'Bcrroozbt, t1fl5 iwr 

bcMotnadamttcrirmltu'tWi tntcdak>7;^movubmii,£ttuiic 

ma watibwfcfto. Scainda be uidebnr WiuboCf ocoicftrejfwti 

bfivcaxJCcrtiabcfancramartaj bccumpotdtarcma^aaniaic 







Fcrdinando Otigania Editorc 



'485 -A 



74 



L'ARTE DELLA STAMPA 




J 



TetentiusCum Duobus Coramentis 




tereaf.guodint«rdwn noo temae pr: 
quod habet fact&fa oecefnute. Temere 
parroenonena^aetertatPtbtipG hocdi 
fe notnioat : ut Degrneff rogue neptob 
narrare memeotaet aee none phormi 
awl aokt lacdlito. ^fcaxte quicg. ut 
dicit non tenx rnneqi per inaprudoitia 
ntur guic^id utik i An hoc diot nihil potefi 
tranfire temere quo utile fadura eft : qui me 
io gratiam fui habet. An qoicq pamphilus prae 
tfreat *. eroer ciu utoon reisuneret bomtm & 
Oam p-armenooisxjuod fibi utile fixritCoaf 
' iJeniih>rdiauraCTetriaabeuDti.CFediniy 
pnKfesix^ftiensantehDtx:qaiiinoncoaueiut 
ferooMemertde fkere:bene 3ddidit impni 
denUMh coenKlS^rut bene Eaceret quod pm/ 
dtJnfsi^feefritClnsprudcnsqfcwijs antt/ 
ti>etoafecunduaviata irnpnidcoti ^'entem 
reddi? i3<m pnickotem* 





xa9xeris.par.itn0 
fed.pa>egoiflac 

pannenonc 

fecjuerctnemtfo 

sbonifecihodk 

Imprudens^ fcies ante hue dieuo^. 

Vos ualete SCplaudke caliiopius lecedu. 

Adh ludis R/)n3ams.Lado Poftuto 4 
ComellonKTuIaaedilibusairmlibus.Eg 
osTurpio.L.AttfliufPra:n«ftmus.Modu •- 
cusGaadiitfbiisIparibus.coca graces Apj 
epfdIca3omenos»A(fta*iui«CFano.M,V'3 




Rnis Comrtjentanonsn Ae!if Dcnati(up<^.P.TerentiiA&iCoWOcdittJ 
aQrasmloanms Calphumii fiipcr HeautonticnoronKaoo foektter. 

Cf™Pf«tlumVcneKi5pM:SimoneMdi(fhira5eujl4Qua;Ann6do*wwi^ 
ntenUsiK)ixaibn&degnaateuKJ^|>;iiKipcAugpfUQoB>ubadKO. 




'485-B 



VENEZIA M.CCCC.LXXXVI 



75 



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Cr :Jrarf is '^•oH pbiTippi i3 trrjjomtnifie o«li»i6 fratroj £ycmifanim o&if ffl^tgofliafan omnfmodc bi 
ftoaa itouiiTiiuccongeth; H^upptcrnciicvm jCroiiiarU5appclldcaX.>bcr {mintitj fdKf.'craidpit. 




TH py ncipio crcauit r^cne cdum i: ter 

ram:tcrr3surQncrarinani6C»iC(wp<Hlta.ScribBmur£!cncfco0p!im<> 
ca"^ajbilio3oiani.aug^rdbmc:wbabcairrndcdmoocdui.oc<«"j?) 
d^aririiD0emundii0.;^teiribtlta$t>cro martmuseocue; r3 iiiuiidu) cfle 
confpicimii0:oa)ni 1^0 acdimue (Quod joiem dcus fecctir mandum 
nblb potio0 crcdimoe ^ tpfi oeo: 'Qbi immcB ipTom ^inimae." 1^u(i^ 
mrcrinK'rcfpondirjnoe mdiae cp in fcrtpiurieliincnc: Wx dipt pTopbc 
ac«i0:3npjinapiofccitocD0ccliiin'j:fcrra5: "fionqoid namiuncftnnbi 
iftcj)pt>craqiiandofec<rocoocdi^^ terra.' iSoo : ScdibiftjitrWftHfea 
Tapictia per qua; facta funtoifl-'qac imninmctA (anctaefc tranlTcrt ami 
coo txK piopbaaecoftirait: dfcj* opera ftia fine ftrcpituinfiie ciiawTsr: l<> 
quunmrquoq; ciaangcliodqoifcmpcr wdcnf faaan patnevoiuntatc^ 
cba qu'.buB Oj fctapcr aiujuciant . itt p:oprcrca ex qe nraeerat ilk pjopbciaiqotoijcit t fcripflt-Jn P"" 
a'pio crwnit 0010 ccio) -r tcrraj Xcn a aui crat tnanis t ituompofus /ptifomiioqmppc flla materia crat 
quaj wr mbilo ccb6 fecit appcllata p:uTio cctum c terra;. fEt tMOiQdlin piincipiofwtcdiiHiT /crrajrno 
flila7nhoco«.fjf|:6otcircpo{aw:fw>txcUijpo(lcifcnbtairfiKf»i>:qu»dniodo5fifa 




• 486 -A 



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L'ARTE DELLA STAMPA 




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I 



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VENEZIA M.CCCC.LXXXVII 



77 




'4 87 -A 



78 



L'ARTE DELLA STAMPA 





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VENEZIA M.CCCCLXXXVIII 



OEPBIAM OLIM BEATISSIME PATER NICO 
bcvJliramepopfiex commairanaquadamgramniari 
o conierc-.^uibuscminem 1 itterarjaai anrivjuicatem & 
orthogniphix ranonancum c»purtunishi(tonispro 
poctarom dcdaianoc connoftcf conabar ajrofttturus fe 
nc DtHM iririliftudiolis lit^uac /atinarjccnniabaliii 
ftudliincgocufoj ftmJiaribus I'rcrraptul ilia prorfiu 
rcIinqucrc:atq;lbgorcporc3biiccrcmfusfu.Scdnuper 
ciSapud Alatrjum Campania oppidumex acnsromaiM 
moldba fccdBflrm'.ca aUblucn: nuorunda amicoru 
rogatu conaaufa»cficquoq« ad calccuixu^pcrduAi 
opujnu^gpuuariuBi&difiufumianiJilludtuarCujaita 
na quaudurionKomnia mrabona fJiucrunr.dedica 
ir<'<-onrtitu;;noti quidon ut inftituaonibusgrimaucis 
prtoaixq; hlftonunculismabcaacudo mdigeatiqui at/ 
icros dodnnis ofbiuaiafn mil>uarexfumnuin?cnii 
niononae^ felicitate prjtcdiu ;Scd ut in tua ilia bibli 
othrarquam oninium qua:fua-unt prxftantiflltnam 

compansab'qtiopadoc<dlocarcpofraJ>lam liotrxroagnificenuaanmn cuivquincnnifi cLinnima 

"lin^itteru acditidil!]ae:& tcbus (;3rKrisaggrediens:uircs um ulq; t inguz crudiailttnos ex omuibus fe 

retemsudutiadiuiTutisquodbma^luniconuocaucmiquosuc mumpofTint cxcollcrcmgcaium: 

laudcai^Lbtpararc:80\lic[uidconftccrc:qucKlpoitcritadproddrcpofl"itmxvimispramiisafftMris^ 

noti tamen dtten-ebori&cpoaliquid pro mea paruitate niat bibfiocnea:offere,Quam cimccli ex cla 

nirymisalnflimamm down'aruni aiiftonbus fulcirccupis;quia tamcn ft: minora aliquando /aculca 

tODcceiTanacfuntinon dcdignabcnsproniafapientiact 

cnimquantisimpcnfis&funipubusquantaqi diligcnua 

philofophoguni atq; fummorum theologorum in latino 

adhibescuram in antiquorum noftrdrum operibcubn 

nonnullos ad diuciias coKraafque ttjundi panes pro re 

ftinaucris.-Quxaimmagnis»n rebus cJTcctris Don pigci 

ruahibliothcca n:poncre.&.'maxmie ii!os;qui dcgramm 

tilianornifi oratonsfunui fundamcnra ii'dcliccriaecait. 
:or eflcmrconipltuipofloit :n medium cxemplaaf 

iuliqodi aids negbgcnria in pom s oratonbus ST hifloric 

uiljaiiediancqueant:& caneris foculcanbui inccrpcan 

qua Obfninffima ex cuius jgnoracioncfafpiilinKBUidQ 

aumnt.Vnd cntmoun^ inter doAos conumaan pemu 

rirJEt utciufdearcispfefl'orcs:tjuin capceUu(lt:Iciuc 

ncos uin dodifluntruriginus muln nominis Roiiia; gr. 

txugraniaddsquiqillni^utfufnntjnagna audaria praq 

fcholara Occro pbft iabores fori fi-equcntabati Nigidiu 

Varronemoium tio<3ifli"iKnli Valenus ProDus fua^ate 

fdhuaTcrentiusJOGaurustttmponbus Hadnani'.ddqui 

optsiustemporcciufdcGelii multi, nominis gtatnarte 

tunj:J>eruium;Oiomedcm;Prifi:ianunr.Vicionnum:ut 

^imaticos.Scd hos u^lut eius a? ciS profefTorcsfaci le trai 

rinustcmporibusGclluphilorophiMclarusdegraraatM 

(c^batrNonneetloage ante cuiti Antioteltsoium phi 

Q(;umiianus:&fto>coru fefiatut Pnfcianusipeoft&it;! 

lE^crc^orphinuset cximiusphfisiHonieK corticor 

bus bo foluaItiflimumpoeTQ:ien(un?:6<u6caoula^uax] 

ftionesaWblmcAthiutdja-sgHca ftienintphilok^hi 

f<x>huK ocatoiesf JlmUu ducesracultat^hacncceirana lu 

f£nierumiautfcribai»fteris<finaacfilaUdcrcHq«erunrJEfQctrpneipinrpidafflUjpnmuro 

guacnoftraraWijalicuiujdabJttotJnegruKxpsfuKiC^odidcraarufnuitiJUt dixit QUinaliaiiuJdi 

figcntifl'imus fucrit:^^ in fiUo nt ex cpil\6l is apear?t re&c loqucndi hoc eft drf fen bend i al^f r quoque 

cxjuitor&'corrfdtercxoteTltlAtttUim.C.Csfarijfdiri fraxcnmtdcanaJogialibri.Autideottluius 

Mcfnilla-nia«ius»]uiaqi:ordam tbtoslibcllosnoo ucrbis nio lingulistfcd ctia iitteiris, dedif . Quid tt 

dc Marco VanoocdicemnttAoadmiirand«fi uc<tofar<t qg deregauitguod toinuttflimatquaihone 



79 








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1 488 -A 



8o 



L'ARTE DELLA STAMPA 








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Officio beaiiffiiiK made I 

mi0 pcnttemiahb- : omcio 
|m«tuo?::fen«ccntfis:a I 
; rancii Ipiritue:? piuHttne { 
i iU(i9ti{uonffimt«o:aQOid 

ba0:fcUciKrfiniR5mp«J \ 
Sim t knetijg per andrcl 

I '/Brno ftftuns dl^iUeftmo 
I qt)^ringente<«mo ocnu^ 
kcfimonono: oie.Xpii.mc 



21 poita iferj. 56r.£"nieoo 
mine aiui> t'o£i ^. Dne ct 
.iudi«c.$?.JftcLrtno:«c. 

JY^ £ii8 qui iter O?o. 

^ \^ apoftohcos faccido ' 
tcefainuloeiuos poiiric.i 
U leu faccrdotali fccsfti oi / 
(jnitatc vigcne: pfta quelii 
niu6: vt coi: qiioqj pcrpc - 

1 1110 agfiregcniur colonic. 

|r|£u8vciiiclar Oio. 

I V^" fiito: •z humaiiclalw 
(■oamatozuiiiim^clcnieii 

j ajtuiuvinrcpisrcsatiotd 



ciu?ffriptu; fiknia \}cccii 
cuiait-'ue r.mciie etue, &«>. 
"Y". ^gudateoiimiultte 
J> CI*: Uudatc euj m ur 

nmijifWVlilllSCl'. Ijaii 

date cij i vmtit>''a'': lauda 
tc cu f m multitufl incj ma 
gHinidinia ci \ J^&iidaic 
cix i fono tube:taudatc cu I 
pfalterio ■: cftbara.. jjaii 
date cu m tvmpano t ct^o 
ri):l3udaKciikl)o:di-j ct 
oigano» Ijaudatc cu j m 
cymbaijebn fonaiib*':lau 
date eu i cfntbah^ tubilati 



ojiis: ojt; fpfts laudcisn^. 
GFUqute. afi.iOioipint*'] 
faudei Dti5. ^.SudiUi vo 
ceDccclocicctemtbi. ^. 
a&ttniouui^irtnomo^iu [ 
tur.Sfi.jegofu,. £atic6 
; W^ £iiedicf^ jacbarie. ' 
; Kj oiisDc'VracUqiVtfi 
. juu ct fccu rcdeptioncm 
plcli die, Qftercjrit co:nu 
falutie nODSoomo D^auid 
pucrtlUu^(aitlocut"cft 
posrc6ju;qma fclbfuiit 
^pbctasciu'j. Salute e,r 
intmicis nfis : et oe nianu I 



! nuczibo?amoJtiemcc:'r 

: nnbilargirtoigncnsgra' 

tiiTmifcncoidtamuisz i 

} Dcumctie rcquic c veiiiai: 

ccf lefie me pace z ?c«di' 

ainitnoPpcto^b'vitict 

gfajfcinpit'na.iQui VIUI0 

I irc!tc.^dpma.X) cue 

I iii4duito:tuzc.G» lliapfi. 

hiOrapmaoU b^^ 
• ctiiecftiefueadpl 
wiu.-faifis lefttmoniie niul 
til accufatii:colapbtt; ivit/ 
I fiuntinanib'^ltgatu: vultui 
I DCi -^ipuuc lume ceii granot 



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Iftar.rye" : ccaltabo: in ijoi i 
[buecf craliaboi m ten a. 
I X) f.s5 vjrtutu HObifcu: lu 
j fccptoz af oc'iacob, O io 
im.'Sii.aduuiabifeaoe 
I utjvultu f«o:ocu6 « medio 
I eriw conioucbif » 3". Si 
i yrf cutlctJtiu. pfalm". , 

Jo rmdameuci'imo 
f uuueleie-.Dilujit t>m po: 
1 tas iVo'.rap oii tabcniacu ^ 

lnacob.6 liofa Dicta lut 
j ^tle:c^Hita6^>ei.iJi cmoi 

I croraabTbabY^^'""^^*^ 
tiume,© cceolic. ..£ne«| 



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VENEZIA M.CCCC.XC 
TRIVMPHVS FAME 



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L'ARTE DELLA STAMPA 



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105EPHIIVDEIMSTORIOGRAPHI VIRI CLARISSIM 
ANTIQ^VITATVM VIGINTI INQPIT FOELIQTER: 
N VM TR ADVCTOS:PER VENER ABlLEMPRESBYTi 
ILEIENSEM VIRVMDOCnSSIMVM. 



■): 



ISTORIAM CONSGUBERE D£ 
am ncc eade uideo dufde fhidii cauQi 
utro pluhmum differercs.Ni qaida et 
omatu: & ex hoc gloria aucupa'rcsad 
Alii uero- UUs gratia refcrctcs: de qbus 
i opere code ultra uirrutc coa& funt 1 
neceffitate iiimpafii funt.utea quibus 
pturc declaratione col]igerent:Multos 
iti occulto iaccntium inuirauinut hifte 

^5- proferrccocm.Harumia^qnaspracdi 

TnSiam pronencrmit.Bdlum nan^ quod iter Romanos & nos i 
finis acceflerit;expCximento jpfc cognofccns naixare coadus fum 
confcripaone corrupunt. Prasfcns aute opus aflunipfi:crcdcs ctfa 
nibus apperiri. G>ntinebitita90inneniantiquit3temnoftrami 
hebraias btteris interpretatu.Dudum fiquidem cu bella cofcribc 
rint 1 inino iudd:&: qaibus fint ufi ibmuus;&.' per que legtflatore 
tateni aliaq; uirtutis continetiam nofcitur acangere;& giongis pi 
iiifDme uencrint ad certamina Romano^.Scd quonii igenserat 
plexus inipfo libro diuidens difponenfcj prindpia.at^ fiiicm cof 
taiu.Tempore nanqj procedente fecundum illud quod folet acd< 
quocp fcgnides tarditaSj fucceffit tanta atripiendi materia in ufu 
2 noitra confuetuduic pegrinx.Erantaut qui me hiftcrix defidej 
Kpracdpue horum oiumepafrodirusuii qui uniuerfas guide d. 
rcrum gcftaj^ cognitione gauderet uti^jcum Si ipfc magnis rebu 
fetiSi icfmnibus mirabilemnaturae fortitudina& imurabilem m 
Huicceini uiro femper obcdiens qui utiliter & bene agemium a 
defidia ponus q optimo labore gaudcreiad hoc mc protlmisartn: 
di<3a 4unt no tranfitoric cogitas.-quia p haec & de noftra piolapf; 
& de Graxis fi quis coj^fare quae noltia font uoluerit.C5peri C 



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VENEZIA M.CCCC.XC 



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txlpnnd 

pinfivcimk 

coiitrntimgilvfom 
copoikplo gcjBc 
fcrc/OarcboBiTtia 

pcr4DirtbQc>mfcotc 



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L'ARTE DELLA STAMPA 




CR.ONICHE CHE TRACT ANO DE LA OK.I 

GINB DE VENETI. E DEL PRINCfPIO DE 

LA CITA. E DE TVTTE LE GVERE DA 

MARE E TERRA FACTE IN 1TALL\: 

DALMACIA. GRECIAj E CONTRA 

TVTl LI IN FI DELL COMPOSTE. 

PER LO EXCELENTISIMO ME 

SERE MARCO ANTONIO S A 

BELLICO. E VOLGARIZA 

TE PER MATHEO VE 

5CONTE DE SAN 

CTO CANCIANO 

CON GRATIA 

ET PREVI 

LE GIO. 

M\(fi\cCccm\dnm mo:em 
imac IRoman^ jEcdefic 



Epiiaphmm ciuftleou 

5abe1lus Eilcgans exuo<flus luuir* 
Nee un^ Venetix dccidec diuino 
illius elloqaio xtcmaAcs. luacntus 
luget raodeocorem optununu 

Fims 






'490-D 



VENEZIA M.CCCC.XC 



85 



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86 



L'ARTE DELLA STAMPA 



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AVCVSTiNlOATTI SCRIBAESENENSIS ELE 
GANTTtOLAE EOELICITEK INCIPIVNT. 

Rcdimus landudu a pleriftj uins eria darrnf' 

afiiuis pcrruafutuift dcmu artf qucp»a in diccdc 
nonnulfa-adipiTcj'fi«ki€ku atqpcrudilofil {tet^ 
rus ocfligia opH'ma fibi qaif^ rmltandu propo 
fuerit.Ne^ cnim qui diuhus in C<«ronij leeil 
6n; aerfa^us fit no effc m diccdo & ornaru? & coptoFus 
poterif .Nam K horndiora cr<b4»o« • ♦\'>lan ipfi qu9tg 
aridi ieinniiKinculh fiat ncceiTe eft UcUfali igAurnii 
W Cfccronis wolumipa.quc clocj.jetiT parcfe mcntoap 
pclwrcrim paucaannot*tfonc dig^M U'ife lunttquibus fi 
utcmur uul^riu fcrniune afpc.nati ad cloqucntc ocaiio 
ne proximdw accedemus. Sed fame id in primfs gf(j 
admofrfdus fa quod rhtror diligentifTimus « infigars 
orator Fabius Qumtilianus de crationis partfbusdiccre 
cofuehftiNCT^ en-.m lfs« (unt otarotis qucda ueluii im 
mutabUi necrfliiatc coltifutsinec roganonibus ut idc di 
ccbat: tfcc plebifcitis faaa funt ifla prscepta. Sed utin 
ftatuis pidluris poematis cacJeriftp in cxordina'di qiicxp 
iiiri doquehs oratione plurimu fcmpfr dccorisac uenu 
ftatishabuil- uarictas. At<y quod dici folet cauedu lenen 
dumcR illud eft ante omnia ne ars^ulii dicedi fi fien po 
tcft cfTe uideatur.Hxc igitut lex prima fit comutafionis 
uanelatffq?;qul suditora adres no diftinllime iudfcent. 
Hoc 1^1 tur hQo fundamento perpauca dcinccps fcriba 
amice fuauiflimc-quar «; fi f^o Temper ut plunmuiame 
his rationibaj feraada tibi crticScdiam noftri loftttun 
nafcctur exordiu . pletun(5 enim qui oratoti* artis fkjti 
bixs ac faleratisait a!iit:ftudft ueebis uetbu contra tnta 
iiuIgstatTiq} gramancotiS cofuetudincrqaod in calce ab 
folutse orattcnfs locari dBruenlt:id ilh poous toaptat in 
ltutio:quod omne tibi fict manifcnus excplo.Scias pie 
na orarion^ conParf tabus partibusrguod fuppofitu ut 





1491 -A 




VENEZIA MXCCC.XCl 

sancto loanne clim^cho. 
alti^amente schala paradisi 



87 




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C23HU IBmwrdi abbatid d <r<ittl 
knits oultnte iCiftercunfie 9oct<^i^ 
oa-anfluni Omelteetfennoneo oe 
lempou av( ronctid : multidpcr an- 
lu ctrculum : folentutibue 1 0icbud 
accomodan. 

i£t pnmo Omebe Itipa- noiigdio: 
isSilTue ell angdiM ^ibhrl a oeo^ad 
boiioirm ^crattiTunc (nnper ptrsu 
uvnMnecdite. 



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reine 

sliqtiid a b 
luotioiuby 
jiiiPJobibtt 
ownpanw 
tkninta.' 
nimqip:e 
pcdicrecoi 
i>ota\ifnoie 
iliaframi; 
)d p;cleii0 
.:iovalcofe 
ctari coiiiicnnimhd taiinllnin oaj : quod, 
vclmibicf fotniiofraiidane iiinocnbiiu 
intcrcipere finornon finam oaolum . xi. 
betcraotciitarc tdponfTmnmi aggredi: 
quodicpeiimniiiinpiilfauitMoqmriclcli- 
cct aliqmd 111 laudibua i>irgims metna 
fupcr Uhi lecnoiic cuangclica: m'qtia luca 
rcfercnteocniinicc aununciationw con- 
iiiif fiir brfto:ia.Hd quod lineopiw tan. 
<rt»diiin:etfi nulla fratnimiououni nic pjo 
fcrtilHiBfcrcnurcneoefleclT-.vclneccnu 
taa v:ecat:vd vnljOBtnontat* oii tame 11 
cvbociion impedianquo adqueqjiplo- 
riimr.cccflaiiamiiuie parania mucniar: 
n oil arbitro: cm r'cbcrt grauan : fi J>p:ic 
riruYacio?cuotioni. 





tcttioraiKtieiiangclij 
Scorn iucaiii. 



3n 
illo 

nnf 

fue eft 
aiigflua 
gaonda 
toiaui 
rate) ga 
lilceutii 
notn na 
yaretb : 
fldvirsi- 
iicn* «<- 
fpofata; 

^ wro oil 

Momcn iofq)bo<comooauid:ct nomen 
virguiifl maria jetrdiqua. OnicUa ^nw. 

bivukcuaiigdii 

Tminarc^iiiboc 

flocotamfigiiau 

tcr apnmcrc r 

Trcdofpnchiir 

\no6 lie^lgCUT 

ludiretivca^m 
ligcntrruuatnt 
cnarfarcllo- 
nitiiat fiquidc iidciii qui niittif rr ai a quo 
mitnf* virgiiic ad and uiittinir : r^>ourul» 
quo(B vnc'tino: amboaiinq? gcnuecuuD 
ton:ac regiotuni prop.u^iioinuubueticfi 
giiat.tltgdboc:iC:uiarrcali(\nidboami 
ftpcniacnc pclitu (it:'incf;uaq;.SieiiHH 
*icctol«uc<arbc;cfmfcaiilfl;ncc\nun>^ 
' pa(Tcnbu»; fiiicpatrccdcrti cadit ftip ttr, 
I .impute cporc OHrancncuslgciirtt'liipflu 
uiu rcflufiv rcrbu;p;clcrtini u» laaa Or- 
ltc«:i;ivcrbi:1ll6puto:K>lcitaquirp(fiiia 
omnia iiipcnue in vi)rut>:ac celclli [insula 
i)ulfCdincrcduiid9nir>i»ritJi»cotli5ici»fe 
bfibcar ilptcioic: qui noueru lug^crentel 
re p(ira:o((U(KDe (JroDMi idtmo HTf tit< 









•4 9«-B 



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L'ARTE DELLA STAMPA. 




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DIOMEDIS DOCTlSSIMr AC DlLIGEMT^SSlMl Llhi^ 

GVE LATINAE PERSCRVTATORIS DE ARTE GRAM 

MATICA OPVS VTIUSSIMVM, 





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^^, RTEM Meric latm{tatisrpimee|5cIoqucntfa mdgiftrl 
'^^^'l fubicujlf littera^i facilitcr pcudkncio formata liamax 

^^v^'^^' cUritausihaccucognouJnc?:xcclletefacundia tua plu 
?(\^l rimi faccrtldcfidetiomaUbctcr indulges fumo lludio 

.-yA^=>,^^ ] Iqtuttiediocmadtnodfulgcnumeiqlitas capetc patic 



hatjtrinodgeftahbeUodilucidecxpeditacermcemictedatgaiprosaU' 
riu meat^audltafcicti'acoplcf afe{ietiadencgatij e»Sane neqdcct icoghi. 
i«j;uitad3fuitnimiucollncU brcuitas- Eft»n» hicubratiois idulhialbu 
dijq} collatio tripartita ; ut fecudu truia aetatis gradati Icgcntiu fpatia le 
[ dbopbabiliUr ordiaU crime fi lixitari s cuadatitediu^ dcmulccaUquat 
gde in Itib?dmifi6ibus guispuula iiu'in ifingulisiua cotinec breuiwte 



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0pii^ p^cdarum Bnppkmcntniii dno ^ 

i'.f>Hitm vnlgo jpptlLnani ; m omnimodshfkonH nejiifiimt:rongc(tti frotna 3«to 
••1 -'biTippi Bcrgoiiian'iy ririigiortte LxTiTnuarjin Mui aii^iHhm Ofcono:cp {aurtif]linc 

i~Xyc cx3»ito muixL f dwcrcationcon^ iwcj (jiiirA/fcnlPp-i.Tum- 
137 *•''''''' P'"'""^ ""^»?"' 

TR piincipio cvcMiit x>mo cc 

mill ei »»'»»»"»*,„c6poiUdSail>niu"iLx 
jicfipe j-^^^cap? Umbiira onmiuin . (aii^uiliiio icVuu) 
Vf b'.iUf viiLi^aiiiofrfiimrjic oci c.i^ i'.' .afeajiinjue cti 
inimdii6.3niii.'ibiliu5ViTom-j.riin!)ocIrocui<:rcdmun 
dism f)VccofpininuB:o<iun vcro trtdiiiiiio. iSiiD autan 
oai» fic:rit iiiuiiduni imlli ponm irc Jiiniis tj ipli occ 
t3bi tnquiL-c ip(ura auainiiniw.'lHuRp Kcriim(rcfpon 
dif Jnca rtirliiis qj m lo ipmi w laiicruj. rbi oivir .pplx'- 
1 iJ(:iu.3:3Hi^mk*ipio/ca[&fU(}<.cii"i t iaT*m . iHiiqiifd 
'^ »)Kin miurfuiriljjdjcproplxtaqii mJoHcir ocuocdoj 




PK-rMni»'inw5:frdic«te^bit'uiiCinfjpiaiiia.pcr,^iiaiiifjt:fji()iitomiiiJ.qut:mflHl 
n)u1«uin f Jiia w fct rflnritT t Jtnuroo on r piopbcttio ?lhtui{;nfii5 open lua linc-firi.* 
jiiu liitUonyjirni. i-oqmmuir quoi:^ cia .ingdi oc» qui feiiptr vidcnrfia;;tii piUna ro 

/I ;!rt?jfCi!)^pciu3':^badopoucrfLMnpaJiinniiai[.--fp2dptcri-3cxl;iomuBcraiilkp.'o. 

^iM P'x^f '' V Dim-ricnpJir.^jn p;iiicipio crcaiuf ociisccluni ciiTr4ni; fcira aure^ erat iria- 



;'i)>Cfe1t j.3>rf«(Wia qmppcilU marma a Jt quani oc iiii.iilo ofiia fait jppcl 
'tvwit»tms'.i»ucl!H<:fiiiitcf}mp.'!)Kipic>fci;iccduinifjira^B', iiouquiaiatn 



^j'fri!:i\dHu;iiWvcrtit>OhT»nanitfduinpol^arcnbifiirtJauiii)qucinadmodii5 
h Iciiirii .11 beua ccnirdCTjiilt* eicJm'ibi dFc rnditfint robw:-: r jino«z frucrueir fb 

w;ijo.;ni.iumfont:(cdiiuuufdffiimr.5!"uuf.*oKr4aM£d;giipaiicipiofait Ccuscc 
ttmi r laTam^aaft fcmoi v ali c icrrc: oin jdtwf tiu«>i fnf'» >'tla cd^r «) re materia: 
frtJ cjiju V jTttj I .-Jill ^1 jc fr.rurimi dTe ciiuwr KtiMijuntt t ill a milcria cdum Tictta 
j!>p,.U 4»*ci5 to nw ;w.g foaciolam fa-ni jtii MTijju'ai u cannii^fti .^mduu) in p.irttt 
f \o w "linVi fift nwnTmw-t ah| p biioldpia tvxaruiit cbiuw qoiplt in codcm iiba) hk 

Shia- marc t larvni msoJ t<^t otmaa crium 
(^lUkjerartoroijiiui* ■>'\<u«;muri3«ft 
(l^ixni oiarccbactjruha itidijcif J«|3 ttiijJv-iS 
lOoiqmc^ uHipcMidras uMra congatai^ codcm 
fttei; l« m iiiriojrum Oifcoidiafnuma rcruin. • 



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5 ^ <l^'!i-^*'='"-^--:-^^-?rS;-'-?ytOi#l!f^5^^ (\ 



rtNITO LA PRIMA DECA DI 

Tito Liuio Pidoano hiftorico dal co' 

Fmlnctame'itodellaattade RomarSc' 

muitala ceiza dell.i feciinda bactaglia 

|Catth^giaefe. Cap. I. 

NQ_VE/ 

fta parte de 
la miaope'- 
rae licico a 
medipaila 
te fpotaiiea 
menicpro/ 
mettedoql' 
lo chela ma 
got parte 
dcllitcripco 




n hanno promefTo nel ptincipio di tut 
fa la fnmma dc lopera loro:doe che io 
raiueio de una guetra maximamentc 
degna dimemoria intra tutteleakre 
Ac mai fiaao Urate per tempo althuno 
Laqiule Hanibale ducade Caichagi 



nefi hebbe col populo Romaro •- Im/ 
perho che njji non combattelono in' 
ttaloro akbune cittade:ogente piu 
uilide &; fbite d^ tichezze:ne a quelle 
medefime fii mai tanto de uittu o for- 
sa dato:quanto a quefte:lequale non 
cobatceu^itra loro ignoratemcte ma 
fcprecopjreuioalic battagliacoquel 
le arte prouate neli^ pria guetra Cat 
thaginefe.Et fuo tanco uaria la fotrj. ■ 
dellaguerra&dubiofalabactagliaiclS 
piu uicini fuotoalpeticologli uincito 
CI che gli altri.Coftoro anchota cobat' 
(etono piu qaafi pet magioc odio (he 
fotre luno contra iaitro: fdepnjnSofj 
gli Romani-^eli umfti fpotaneamc' 
tepottaiTenolatmc contra gli uincito 
ri.Ktli Carthaginefi aedendocbeco 
fupetbia& auaramente fopra loro: cB 
eianouinfti fufleufatcdeRomanilo 
imperio.Anchota e fama che Haniba' 
ie in eude qua/i dc noue aunt dlcndo 














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1493-A 



VENEZIA M.CCCC.XCril 



93 




94 



L'ARTE DELLA STAMPA 





CANTALYGII EPIGR.AMMATVM LIBER. AD PC-- 
LYDOR.VM TYBERTVM CAESENATEM EQ_VirEM 
COMITBMQ.VE. 



CANTALYaVSPOLYDOROSVO.S.P, 




Apinius (latius neaf 
Icquiciim mi polydor 
tauitjan filuas fuas c< 
rumcgkhcbaide feftii 
uoluraen congrcgata 




1493 -B 



VENEZIA M.CCCC.XClII 



95 





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^^5^du SDoiiiiriiiranHnarid p:c itnpctriindo rcnmublicam 
O lirfcranamcclHiiMicmrijoadcidccjmbusgrjininirjUccsru 
%M diincnMtr>o|>tiirHHeDalKiirs . 

JLl^cc fine jHcquiTqU'iin nrc piTifusenr. 
fi am jjcnus 7 c^fuiu iVccictn auuicruHu^j figwam 
iR)isqueficamituipartlbUfc5 inHnuo. 
p 0410 mcdmn rcliquis quidcompccatoptimep^ndeni . 
^tM^^^ni nonootcauictcfio nnlta inancf. 
^r J c\0 kgasrltudmimi, ribi rudis ddncc IcciOJ 



rtin cckn Uudio viiccrc inultti poteo. 

0£.ll7{ que pars cfl /ncnicu cH 
jieiiare cil »ioni«i :* i0 ma figmft =^ 
cat (ubitatma -r qitali'tatc piopita 
vcUommuncMuuni cafu . i\o^ 
mini quot atkidut ;* quinqsrquc/ 
S?pcciC0:i5cnus:li^iunau6 ::5'i 
SiuaM rflkifiis. Q iw^ fpccicv:'pn 
iiiitiiic:quarc:'qiiw a tmllo ocri«* 
uamr, Qiu'' fpcclch'DCiiuatiue: 
vnde DcruvR(iu;'a pocfis; cx"^^ 
£;^ncn5j!)iafcuUmrquarcr'tV:.p?c 
ponirur ci in occlinarionc vsiutn arncuUrcpiouomen bic 
OCui*^ 5cucri&'fenii>iini:quarc:'tl2 p:cpomieu oedmatio 
ne vnn arttculrirc.pnorne bcc. o ii«'' generic:' uciun: cji cf 
qi pic|)omcur ci in ocdniaticc vhil articulaix ^mcmcn boc. 
a d«u6 scnais.-'coiniiistqunrc :'q: pjcponir ei i«>cch*natio 
ne r>uo articuiaria .pttonitna bic •: bcc cjui^ gcnciie I'clsr 
Quare/qi p:cponif ci inocdinanonc rri^ ai ticularia ,pnoia 
bic t btc ■? boc, Qiu'^ cjeimis? pnulcuixjuare/ qj Tub vna 
voce t\*MP at ticulocdpwbendniif aolmalia vtriufqjfcru 




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VENEZIA M.CCCC.XCril 



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98 



L'ARTE DELLA STAMPA 




Al nomr de iefu cl^tUto crucifixo & de Maria dolce Sc 
del gloriofo patriarchs Dominico* 







Ju 



Libro della dluina pr ouidenda compoUo in uulgarc dala Seraphica uer 
gine tanStz Chaterina da Siena faore del terzo ordine de fancflo^ Domi- 
nico eflfendo lei naentre che ditaua al foo fcriptore rapt; 
fo 6( abftractione dc mente.in quefto libro interuienc 
dio padre & ia aergine Chatcnna per mode de dialog 
parlare che interuienc tra doe perfone.EtUidTo fe coi 
fimi fecretl diuini . 

Come una aia Icuata dal defidcrio del honorc de idio i 
ximo cxercitadolt nda humile oradonerdapoi che heb 
CO dio de lanin» che e in charitadetdomado a cflTo dio 
EVANDOSIV^ nofpacioditen 
na anima anxictata bituata dc habic 
"degrandifTittio defi ^Icognofcimc 
xfcrio uerfo lohono-' per meglio cog 
re dc dio & la falute de dio ifi. perch / 
ddle anjtneiuenc ad to ftrquita lamo // 
exerdurfe par alchu de fecfuitare & i J 1 



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'494 -A 



VENEZIA M.CCCCXCIV 



99 




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L'ARTE DELLA STAMPA 

3 qmtita a^agnanimo t)ttca 

c fi tiobilr 1 q:c€\lit€ cofv d>e molti pbilofopbi 
p qfto Ibano giudicau aU fubftaha para: e co 
mdTacoctn-ru.iP^ocbcbano co^^oPnuro p 
vcr4modoalcuiiacofa in rei^tiatura fensa la 
no poterr aiftacper U qual €&(a ve lei kido 
(coUiutoDecoluicbcU noftrtfcnfi rc^b^^utrt 
crarnc.ndcbcpalrripiifcbi eanrtcbi pbrlofo 
pbt none lia copiofamc tc tractatorcttbeonca 
cptatKa,2^a^cbcloz 7)iai|;taalircpi noftri 
fono niolto obfcorue r>a niolti mate ap:cfi:c ale 
pzaticberulgahmaU appiicati:t»icbrm loto 
opationi molto variano:e cq gradi clabotio A af 
fanni nicttano in opa: ft vc nmri coino -oc inifa 
reivndc w Irt partado no inWdo fcno quato cbc aU pzanca c oparc fia 4ucfticro:mc 
fcolidoci fccodo tluoti;bt opottuniancota la tbcozicare caufa dc tale opare/i x^e nu 
men conio oe$eonietria.^a ptia acto m<gltoqUo cbe fequita U babia appbendc 
raefTa quatita DtuidCT^cnio fecddo el nfo j>t)ofuo: cdtuidedola aeiafcun fuo ni^bxd 








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VENEZIA M.CCCCXCIV 



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^octrina t no puocbo ttik s qucUoio cbc noaamfte intrati fo 
n<»ncUa rcUgioneoei viufrc rcUcnofjrncnte. ^ompolira per 
l« riUcmcntnfimo ^onUgnio: Y^atrtJrcba JOcato :>taurm 
$o3uftiniano cella cc^egjnoiie oi &jn joigi ocSUga ;0cit* 
Etlbuomo io o; ^cacjcta. 




IncomincUd p:ologo» _ 

laoiirinabonitadcvolcn O^ ^f I |] 
fdopicmmclcmmct>c \J^ XJK -^ -^L. 
l?ifiioidcctiocricl?e3Cce ^ ^ ' TT r 
lemalepcrmiinocl?ee(ri JJ^ |^ j[^ 

ViUOnO in qUCfta ^^^^^j^ Xaurcmto -^amarcba t>d« vita TTleK^fa. 






tKnno.tfbXC£Clrtn:tii|.vniufa sla luce qf!a agcUcaops 
l;2qt).'le t qaaldq5 oocto c fcto potra cffcr cbara e DC grade vnli. 
1 1 f be rMc andar p via vc pfectioe ad acgftar lamo: tJc'cflb funi 
€nobn:-7 porra fe ben cbutnar la vii cbiaiy e ludda t>c ;?tfplatt5f 
t vera pfecfoe ^dita wl '^jbatnarcba J6eato Xaurftio ^enc 
tunc w ks 3faft«uwn:laqaalc im^flione fo opiutj a.ric.r^c i0cto 
1 2(0 vA t.nno fupza norato. Ziw omnipotcntt dco. 



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'494 -C 



VENEZIA M.CCCC.XCIV 



io3 



f-fc. 



vr.'- 



CLAPJSSIMI LVCIANI 
rHlLOSOPHIACORA 

TOR.ISDEVHRIS 
NARR.ATIONIBVSPR.O 
OEMIVM. 

OS ^^ athletarum ac eo ^ 

rum qui fummadiligcntia 

corpus cxercent ; no mo bo 

nachabi'tuduiis: accxcrciti'v 

onishfcroncm: ueySCeius qd magnam 

cxercuattonis ui'm habere arbitranrur : 

ncwiunqrqmiflriom'corporisacquiefccre* 

Idemlfaruftudiofisfierioportefccnfeor 

tit cum grauibusac fcnis Icgcndis defati 

gatifucrit:ad animilaxamctum ali^cirp 

declinetr'donecad futuru laborcm robu 

n:iores:acuegetiorcscfl'iciatur.Maximu 

ueroexhoGotio:at£]^quietefrud;ucapc/' 

rec;ficahure^Iedtioniuacarcnt:qua£n6 



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1494 -i 



VENEZIA M.CCCC-XC/V 



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Perdinando Ongania Editore . 



«4 94-15' 



I06 



L'ARTE DELLA STAMPA 




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VENEZIA M.CCCC.XCIV 



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SdtlIoftrifnmDni1pbancipanjeDi.^baIdDm©rbini©ucciflbonfisfe 
r«fri:flcBnranti«Com(ftm.j6rerislahnif(L)3 liffcrie i0tnatifnmDm:7-aB)a 
Jbfmati'fc ©ffripl!tieailroKmfcnicn!ifTimum:<fratri9 "JLucc oe JBurgofau 

Hi Sf paltb:i :i0:dmi6 minoct'z faacZbioIcgic zi&agiflri. Jii artcj arrtb' 
m^itf: 2 Geometric, l^xfaho. • 



BQ^antita<S^agnanmlO ^uca: 



efinobik 7 erccdctt coradTcmoIo' pb);(o(bpbi per que 
fto ll>ano9Uidican alafubf^na'apara: ecdeffscoeterna. 
■jlicrocbcbanocognofciuro per vera inodo alcuiu cofe 
inrcrfinarurafcnialeinopoteiie eriftcrc.^r Uqual co- 
fa oclaJrfdoCcoUiuto oecduicbeli noltnTcnfi rcs<;i^ 
tractamcnondxperaltri prifcbi e anricbi pbylofopbl 
nonncfu copiofamcnte tractaiorc in tixoiicz e pjariu. 
flRia pa dje lo: wcri gia al( tempt noftri fonno niol ' 
toobfcurircoamolrimalcapxfce alepandxvulgari ma 
Icapplicaruoicbei Io2ooperan'ommolrovariano:e con 
grand! dabojjofiaffanmmcnanomoperaifiocnunicricomoocmifure: vndc ih 
lei pariandononintcndofenonquJtocbcaUpjancaeopcrarefia meftiero; mefco 
landed fecodo rtuogbi opo:tuni anco:a la tbeozicaxaufa oc tale opcrare: ft oc n!i' 
meri como oe geometria. fif>a pjima acdo meglio qllo dx fequita fe babia appjcbc' 
dmriefla quaniua t>m id trcmo fecodo d noftro p2opofiito:edtutdcndoU aciafcun Tuo 
incnibjo a(Tegnjremo fua p;op2ia c vera oilfininone e ocfcriprione. £ 3lo:a poi (c 
qutra qucllo dx ilrift. otdin (ecuiido poller. Xiic cnim mactme fcitur aliquid cum 
babcturfuum quidett7C. 

£)iftnirionc6 7 oiuifiboifcrcte 7 continue quantiiatw: arnculue piimuapjitnc 
odhncn'onie. 

y^gy^ i fcoadoca. JtaqaatitadTereimcdiatebjmembYrcfoeconrinua ewTcrcu. 
i^il JJiconrinua cqudUled?ui para fonno copuljcccgtonre accrrotcrmnu: 
I ©vJ comune: cdmef6nolcgni:fcrro:e fara tc. ia wicretaoucramcte nume 
"^-^ ro : e qlU Iccufparii no fono gtotc adalcutio termine cdc:cdmo e. i .2 .?/ 7C 



fcicbc pama odaotfcreta:a'oc ocl numcro:epoiocla continua doc gcomciriai qui' 

to alo intcnto afpcctadjiaramentc tractarano. 

fciffinuio numeripjopaifluna: articulus fecundUB. 

tIintro:cCfccondo dafcnno pbylofopbate^rna multiruAfic oc mira co 
pofta:ac(T4Vnifan6enuinero:m3 benpn'ndpioocdafcon nuincro:cde 
q([a mediate laqle ognicofa eoiaaclTcre vna.£ fecodo clfcue rin JDoeno t 
fua mufia;e lavnita ciafco iiuero i poictia:? palTij i la fua arJ^menca Ke 



gtnacfondamcntooogninumcrotapclla.laqual piu magnificaudola inlc cofcna 
tur3!iriireinquclloclxfaoevnitatC7vno.©mnequodelt:ideocft:quiavnum nu' 
mero eft. /file ancojadnumero in infinini mcmbnoiuiio.pcr qnd dxeflTo JBrAo. 
Oirc:cioe.;©iquidinfinttumcft:numeru8eft.£perlater^apcritioiieodfcpninooc 
jEudidcMa fua icric in infuiito porcrcp:occdcrc:aquocuq5 niimcro oato: oan pdc 
m3ioj:vnir3tcm addcndo. CS^a noipigltarcmo qudleparrlanoipiu noree accomo' 
datc.£ptro oicocon glialtrialcunoclTcrcpjimo:edequdlodxfoloPala vnitac nu 
mcrato:e non 1j3 altro numao:ebc integralmente aponto lo pana. BItro c ditto co' 
pofto: ede quelle cbc oa altro numcroeniefuraro;ouero numerate. £rcplump:imi 
£6mo.5.7.i i.i;.c.i7. 7c.£remplflfeciidi.£6mo.4.dxlooilomefurae numcra:e.8. 
d;d.2 .c.4 >£l> 1 2.1 4.1 j.e fimtli: tutti fono outi nuincn' compolh: 110 folo cbc conftiHo 



c^y^^ 



'4 94-C 



io8 



L'ARTE DELLA STAMPA 



INCOMINCIA EL DIGNISSIMO FASICVLO DE MEDIx^ 
CINA IN VOLGAR.E EL QVALE TRACTA DE TVTTE 
LE INFIJLMITA DEL COR.PO H VMA NO ET DE LA 
ANOTOMIA DE QVELLO: ET MVLTI ALTRI TRA// 
CTATI COMPOSTl PEKDIVEJR.SI EXCELLENTISSI M I 
DOCTORI CON AVCT OKITA E TESTl PKOVADhET 
PRIMA LA EXPOSITION DEL COLORE DELE VRIy/ 
NE E IVDICIO DE QVELLE. 






CAPITVLO PRIMO. 



Rina* 



^uatro cpiaiita iiatio nel corf 
diquefte:cioe calidita&frig 
dela fubdantia* Niecedimer 
tefuperioreo uererimaed. q 
rationetla quartae elf undo* 
po di queUa la infirmtta d< 
cudine di £egaco& dimilza. 
cidenci dele mebra linfeiaoj 
O loa di quefto nella urina Com 
comtnciadalfudo dcUouirii 





IMEsvE pm 




P E T R V ;? 
D 1 
MO NT AGHANA 




1495 -A 



VENEZIA M.CCCC.XCV 



109 





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L'ARTE DELLA STAMPA 




KATONOr toMAl'OY rNQMAI PAPAINETI 

KAIAl'STlXOrASMETHNErKEN EK 

TH^AATlNfiN ^HNHS El£ 

thneaaa'aa ala'aek: 

TONMAilMDS. 

OPAANOY 

AHr- 

nPOOlMION* 
mif 79i(t7Z6 TPV ffov f*oo5 nQii(Loe;iLiHff^q ♦ o V7W(A»\)| 





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raani cum gratiJ 8ic. .M.CCCCXCV. Mcnfefebruano 






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VENEZIA M.CCCC.XCV 



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A*PIST01>a'N0Y2 OPNI0ES' 

d </^« 7n6«6 Afleii' 5«/>flt •ja?Ve<iJ K p^ A/ flc , 




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L'ARTE DELLA STAMPA 





VM ANIMO£XCOGiTA< 
rcmRcIigioforum paupcru frattu 
Ihefuatorum laudabilcm tutam : r« 
ctum^ uiuendi mcxlutn apod noa 
nulios in dubiumrefricari:utru ca/ 
nonicis obuiet inftitutisiud faiKflo 
ru patru cotifonet riribusac rcgtilis 
ipforupclb? deuictus.Ego Antoni 
us£or(ctus de Sicilia luris utriuf^ 
dodorPaciiMeoidiBuiamiuiispontificiidemane leges pe 








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TilVU PATA VIN{ HISTORICI MCADIS PRIMAE, 
LIBER PRIMYS 





AM PRIMVM OMNIVM SATIS CONSTAT TRO/ 
iacipta i cwetos fc*uituin c(Ie ttoiarios-.daobus Aenea An/ 
tenorc^ & uetnfti mre hofpitii;&quin pads reddcndaea He, 
lenac fcnipet3uftocesfuetui)t-.oniiieius belli achiuosabfti^i 
nuifle.C alibus deindc uanis Antciiotem cum malcicudine 
ejietuni:qui feditione e papbtagonia pulfi:&: fedes & ducem 
tegeinpyliitiene adtroiamamiffoquaerebatiueniffeinin' pi 
timum mans adriatici finu:euganeif9:qui inter mate alpefa 
_ incoIebant:puiris:Iienctos troianof^cas teHuifTeterras & in 
^'qutm primum egretTi funt locuni;! roia uocatur:pagoain/ 
dc:-oiatjonomeeft:gens uniuerfa Vciieti appc llati. Aeneam abUmili clade domo 
'profaganiifed ad mjiora return iniria ducctibus fatis ptimum in Mncedoniam ue. 

iiilTeiudeinSiciliamqufienteiTi fedes delatum-.aSidliactatrelaurcntemagrumter 
^ nutnbTtoii&hnicIoco nomen eft.lbi egtcffi ttoiani: utquibus ab imniefo ptope 
: mot cniliilpr^rer at ma & naues fupeieircf.cuni praidain ex agris agcttt i Latinus 
"!f^'»ngeiicf9iqu: turn ca teiiebarloca i ad ateendam aim aduenarum atmati ex 
urbe auj agtjs cocurrunt.Duplex inde fama eftialii prarlio uiftuni Latinum pacem 
Qua Aeneatdeinde affmitateroimixiOre tradiit^iiicutn mfttude acie-; cnnftirjflV nt; 






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1495-]) 



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VENEZIA M.CCCC.XCV 



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.j. DE TE ^. MOX .:. DE ME ., 

He precor quid prius dalo L«<*or uuio q omnia fnUieare Nam fpcto fore 
ut nifi cunda abiicias co^aris tlngul* hudate. 



Tracla<us>o. 
Orartones^jnx. 



CAR. 

Nubilapfllit 
Gnndinefceta 
Aerefonofo 
Turribusaltis 
Edita Undeni 
Machina tanto 
FiiCi d«core 



Vita Pit 
HiitotU Brachu 
Epigramatu.vniR 



MEN 
Glotis uun^* 

Du uehcr crbe 
Libera uilb • 
Facta /jTUorc 
Sxcula uiuens 
CuncU io(]u«t< 





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Scd mc iteriim Ffinus uiglU Tudore Michael 
Jam tandem fudtt piaepietaie meu?. 

S I N T .:. G R A T T A E .;. D O M I N O 



Charadtcribus Veneris imprcfium Roma: per Fuchariuin Silbcr aliaj Franck !j 

VuiusinfiuiMirhaehsFeTniMcdiolann.curacorrcdMonc Srimpfnia, \ ^ , 

Annochriftlaiiix falutis.M.cccc-xcv.PrK^lc klas Ncucbris- \l_^_A 

Omen accipilc ulri lu(crati quoni'am in Vigilia Saniitomm Onnifum cxpunttum- "v^ ^ 

Sinr gratia: dno. 




1495-1 



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L'ARTE DELLA STAMPA 




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VENEZIA M.CCCC.XCV 



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VENEZIA M.CCCC.XCVI 

S'ctfe Tbormo dc Zfquino. 



119 




C'^nfloilie fh-agf rite penpntaico?u5 pztri 
opis tejms p?mu liwzi ipiiiixTninnas 

TMmnopoitct confhmcre qd fit 
nonien c quid fit uerbuni. polka 
quid ncgano:-? aft' irmatio:? cnun 




1 picpofitionee 1 alia butofmodi no w'cutur interp;eta/ 
riones.cij non !>er fe aljqnid fignificacfiiinli'ter e nl voces 
fi^nificanres tw liter non e^ jspolUo aur ca iiua^naroe ali/ 
qntd fic^ificandurmitvoce^bcutov aialiojcinterpjetati'o/ 
ne^ Mi-j iicrti poiTunt.g cnim iterrtetatf ali^d crponere T/ 
tcndit.'T 1.5 foil nofa 1 vcibn 1 ofonee Piciimr interpjc/ 
tatione6 Dc .juibiis in hoc lib:o peterminac .fed m nomc 
ivcrbii iiiagitj iurerptctattonie p:H)cipia eiTe vt'denc c^ i^ 
tcrp:crariO!ict:.illc enij ireip;ciari videnir q ctponit aliijd 
eiTe vevtt yd falfum.T idee fola o:3do cmmciariua in ooa 



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L'ARTE DELLA STAMPA 




VENEZIA M.CCCC.XCVI 



121 




Ferdlinando Ot^ania Editorc 



1496 C 



122 



L'ARTE DELLA STAMPA 



ix more rigioja 
almagdW pblo 

^L*^tolemdala:andrini Hftronomo^ pt\r\dp\s 

kfii€ycfAu.(ytHT«|.videftm$Oagn9m^on/ 

(lruct{onc-^02g9 purbacbijrdufcp oi/ 

fcipuii ^obanm'eDcBegiomontc 

arironomicon A^pitoma. 

Hnno a p«nw rehim ctbercaro drca(tionc .S4S0. 0ole 

in parte fqrtadccima virginisgradicnte. '^n bemi/ 

rpberio 'BenetorHnno falutis-t496-cnrrcntc: 

•^lidic 4Cakn.0cptemb2t0'S(encttje: 

€S>aj:imiU2noKcniano:um rcgc 

pit'mc f aulKfTime tmperantc. 







VENEZIA-M CCCC.XCVII 



123 








t /. all \ «^ V,^ 

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VENEZIA M.CCCC.XCVII 



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APMONltelEPHSMEAIHAl^AASMA 
TAAA-a". SYNl^SEnETdAE/L*. <,j' 

:T7^ Po(y%;»j'n Aft <3f /x.y TV i'OM<w 

CW 73«d(Ji^M*<J'*«'' CM' T^V <* t'zarS / 'Jirt'M^ (Wi- 
trill ytfA^ii' *T^ rvwsjioiu etAf 7% nvl^ i^oi<feu 'f^> 



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H % l^viJfeiv i/A/A^MTvi ry*<fc7iaf 

£ ;"* Ijj^TZjej J^ TW sviiwf i(pmf AeTWtf* ♦ 
E It <^ /»¥TKS'5^ Me Aw/ lJfw8MI«t §• 

A a:^/^7* -njet^ A.'ssK) jT I %x.e*tf d ^ 5'*«'*7' 












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iPCnaitmpibt m hiaisni ^oaimfefili) SknpiSto 

tote {^jirationiscuisU' 
bms abtetiiata in cnv 
f|» cgriRidinQs idgnifi/ 
c«t(ontb^npt ipfaru; 

autontractatas aptta/ 

(TCapim fwu e oc cal* 
uitioetatopitta:^ tviia. 
CCapth) fecJdocft o« 

CCdpttntmiumcftMrabafatilNnnna.1 dt egntudo 



VENEZIA M.CCCC.XCVII 



129 



CAP. 



I. 





optitnusRos oooKt iSaLQuai^ vna # 
{R(tntk> MidttvriftqiKnacrit npClloi 
£trctel)6iditatc« cjcmneeconofxe^ 
d^gregaitf in radidb*apilto]t.(r Uc/ 
rutaro^ nluinuqdfjcpoMioc baidttd* 
t(»mi(rft{uefttotra(f6e$nonb8bet.8tbocgdem^riCe 
a»4p]|tjturtpUt(9^eiciccan{'qttarendred(t]to{}^> 
uatbneterreluc.CStvrroakipiRfi a tTriaveniet €% 
counpriSebiloB^ mtaqtudcseftoiAaUoaia faintfo 
n(«<|alcpitifl.g;ed(atvtra<p0<U0 ynfqH conflderae 
foUKbedmradft^vtraAcuenir&^nSoifibisiiitttO' 
miMvtroiuq^nifscxctcnsurcQdeqitrriano ;^)^< 
ret in capites jreUquocoqwtenifi float icrpe9.teucnitH: 
cottkxvdfeutcuqacetiaf ferpe0.SlopttiaTeror.5 no^ 
rnmat ttIiterni(l<{^Mdtvulpib^eme.C£t qn oil& 
gmr flttendio cim fiKiMeocntir TCrlc^liauil fuente 
lbiift«miie rpeddOkd iltnt oiocHie in acaUn notniee. 
3fn 3cri6e jdc; qm tfr.s eftoifficilioi ad fao^di <| (Aet 





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3(S:acrica|ro,0crap<am3 olcta 

tKoitdriuin* 
3Jbcr^erapiont6 vedm^lid 

medtctna. 

Xtba*ocrimpit(tmedicttui.otctU8 
circamfrand 

^!acricaplareait|. 



<kf t{inma fin TrtvirV»«iwoU»rait>4)oe omnia bidii' 
MtVcmaqmicr^dtt. 

C3"S»ffl&nnUOTcit|diiiaid««ten)enfhnoWti»rirf 
twnm<DctaHJ«ni0a)tiCiw»iDodoeticnfl»peT »•* 
nets Xaatma Tdtriptntniti.yy.ML 3Mii»la». {497, 



Ferdinando Ongania Editorc . 




'497-C 



i3o 




L'ARTE DELLA STAMPA 




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MA. 
















VENEZIA M.CCCC.XCVII 



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L'ARTE DELL A STAMPA 




«497 D 



VENEZIA M.CCCC.XCVII 

t)^ntl?e alig(?ieri fiorentmOt 



1 33 



fMFERNO 




•497 -E 



i34 



L'ARTE DELLA STAMPA 




CANTO PRIMO DELLA PRIMA CANTICA OVERO COMEDIA DEL DIVINO 
POETA FIORENTINO DANTHE ALEGHJERL CAPITOLO PRIMO. 




Eimezodclcamidi 

noftra uita 

Mi ntrouai p una 

fcluaobTcura 

CfieUdiri^auiaera 

fmam'ta 

Hsuquanto adir quale era e cofa dura 
cfla fdua feluagia 6C afpra &: forte 
chendpcn(icrrinouala paura 
Tanto era amara che pococ^piu morte 
ma per tradlar dd ben chio ui trouai 
dirodfllaltrccx){cchio tflio fcorre 
I non (b ben ridir choniio liencrai 
tantkrapiediTonnoin fuquel pii<flo 
die |a ucraoe uia abbandonai 




A bbnmo nari-ato iiou (bisrrcrc In uita del 
porta Sc el ritolo del Jibro & cB cofa fia poc 
fj.Ma cdamquaiito fia uemfta Aantidia 
HW . j quantonobilc&: naria:quar& utile & ioco.j 
daraldodnna. Quantofia cfiiacea moueie Ihunia 
na mentisSf quantodilefti ogni liber ale ingcgiro. Nc 
giiidicamodataccreqnantoinfidiuina difciplina fia 
itatala cxceilentia dello ingcgno del noftto pocC3.Ii> 
die fi fono ft.ifo piu brienc che forfe no fi coucrebbe. 
confideri che Icggc chela nunierofa & quad infinita 
copia delle cofc dclle ijli c necelTario traftarc mi jfor 
23 non qolendo chel uolume crefca fbpra niodoain' 
culcare & ihuiluppare piu tofto che explicarc & dilK' 
dcre niolte cofe:& maximequelle Icqiwli quado ben 
taccflindnpctoiieiefteraobfcura la cxpofibone del 
tefto.VerrcniondunqucaqucIIa.MiiKheftimono 
dlereledorealchunoitc di fibaflb ir^gegiujtnedi fi 
pocho gmdJdotche bauedo intcfo qii^to Ha & h pro- 
ftinditafi: uaricta ddla doflrinaA' la cxccHenaa:& di 
uiiiita dello ingegno del noftro toltaiio & Borendno 
poetaindfipcrfiiadachequcfto priiidpio deipnnio 
cancodebba per ftiblimita & erandeza dfere pan alia 
ftiipeiidadoftjinadelJccofecne feguitanoipcro 



Mapoichiofuidppic du colle giunco 

h oue cerminaua quclla ualle 

che mhauca S paura il cor coponclo ogni indnftria inueftighercmo che allcgorico fenfo 
GuardaiinaltoKuidilcfucrpallc *" " "' " ' 



coperte gi'a dc faggi del piancta 
die mena drido aJtrui p ogni calle 
Alhorfub paura un puoco queta 
dicndlagoddcuor meradurata 
lano(flccniopa(Iai coo tanta pjera 



arecln fecoqiieftomezo del camino&r che cofa fia (el 
ua,Diche neggio nonptccola differentia efleicllaca 
tra glintcrpreti Si expofiton di quefta cara rw.ImpeK} 
cheaichunidiconocne il Jtieioddla uira nunjanae 
el IbnnomoflrKacdod^'Ial 
do lui iicllcticha nefluna di 
tniferi nelU mcra ddla itira 
meta del tempo dndtiCDnc 
che ne bene ne mate lentir 



^fti che el poeta pogha el mczo del a uita per b noae:& la node pel fonnc 
ma no fia al^ro che una uifione che gli apparuc dormcdo per laqu.ilc hebb 
lui dccripte1t]uefte trecomedieX>iconoadiiqiie che lnl imita loaneeuap 
pra il pcdo di Chriltoredeptorehebbeuifice delle cofeceleftc«iieramet 
doloi naacfecomkaaco il fno ^^oeina di iioftcnclla^te tacogledofi lanim( 
ncndofi & liberandofi da ogni cora meglio imenda.Ma bciKhe tai icntet 
dimeno ie pm^e non la diinolhono ie non con tanta oblcura ambiguita: 
gantiadi tanto poeta.Ptima pctchc non feguita che bciKhe nellc reoolu' 
cxroiptnk nofti quato e di-.pct qfto dicedcio Ictipfi di nofte fintcda io fen 

Eerche Sc nel prindpiio & nel line della eta humana knto le nodi «Ame nel 
pdrK pet la medcfima ragione fi potrcbbc fare tale interprctarione pel di 
nodie uoHepel mczo del camino intedet che nel mezo ddlcta dettept ini 
e ana medcfima opmione del tct mine ddla noftra eta:pchc diuetfilaipn 
Ariftotiic nd fijo de republica pate che aptoui la Icntaitia di certi poeti:e» 
to fept fnatio attribuendo.Eptimi fcpte alia iiifanriaxEfkoiidi alia puet it 
aucntuno alia ado]efcenria.Dipoi pongono due feptcna rii p la gioucntu • 
quefta cu uole nel mcdcfinio Inogho Ariftotileche fia perfeda a cdebrari 
giouenrn ftg-jita la eta uitilc la cjie p due feprenatii art mn illano nono& 





con 




f»»t 



tSi=>^r'=; 



VENEZIA 



PVRGATORIO 



M.CCCC.XCVII 

CANTO I 



i35 



cxxxv 



CANTICA SECONDA DEL DIVINO POETA DANTHE ALICHCERL 

(BSnnSfRII Enelftmiro&eruditoneUrccpoe 



ticael noftio rjuftoreqfta/ila fcco' 

d.i ca'cica ad imiranoiie di Vhgilio: 

donidio:diStaao:&dcgl3lrrJ he- 

roici hani diaidc in ttf ptit^pofi/ 

tionc : iuocanonc & narratidc. Ma 

Icdnc priccT>e(bno^pofiuone&iaocatio4ic uen 

gono in luoghodi .peniio.Et oclie e ^prio officio 

del pernio forcche lauditori diutii jpto& idonco 

ad ndire facilraeteqftocofcgiutcrcmo fc ceio fare 

mo lieinolo attcto & docilc.Capta adu^ beniuole 

t>.i data mstcna ^mettcdo die catera del purgaro' 













no cofa optima a glianimi hfiani:prB c folo tncro 
pd fjlc poiTbno puenirc ala co^nitioe diiiina nela 
cjleco/iflcd fumobiVCapra^dtora bemolcHada/ 
la ruipfonadimoftradodiefafFadtai fcrmerqUo 
che ala gcnetatioe niortale fia no fblo urilemanc 
Cf (TatioTPreterca fa lauditore atreto da la gradezr 
de la materia. Impochec6 (bma attetione udianio 
Ic cofecfS Ibno o gtadio inufitate^S; maxie fefono 
appcinei}riK>ad uniucrialeto a noi in pticHlare».i 





ijComJncia la terza parte dclacomediadiDantheciHamavaparadilbmcnaqualctradadebeatit&ddace/ 
icftial gloriatS; de main & premii de fanfti:C<ito prime neJ cuj principio lauftore,phenji2a ala fcquete cati' 
f3:&foi!o neloeIcmcntodelfocho& beacriceibkieallaudorcunaqncftionenelqaale canto lauftore pic 
mcttc ditrafiare delecofediuineinuocandolafcientiapoeticaicioe Apollo die difapientia. 

Erche conic habbiamo dimoftro nela 
prima caticatutciepoctilieroici diuido 
x-ajic»^i\ nolopetaiotte partis hitppofitione. in/ 
Ui^SSy uocationeA nawationc.Qucfti t^uatio 
ternarii cotengono la j)ponrione ne laqualc brieue 
mete la materia di tutta lopra che e ttaAare del fup/ 
no regno non ftcondo fua natura.petchc qfto tra' 
fcende noftiointclleao.ma qu.iro potecompfeder 
fua mente & compreib mandare ala menioria.Et p 
che la propofitibne & inuoratione Ibno in luogho 
diprocmioobferuaqinqllochec^prio del proe' 
mio:deIquale ql fia lofficio.petche affai apta mete di 
mollramo nel principio del lofi'tno: no mafFatiche 
to in difcriuere qiiajfieno Ic parti di qllo.ma dichia 
rerocome a! ptefcnteel poeta lobfcrua.Capta att£ 
tionedimoftta"do haucrcadirccora fialtacnetottc 
?altregli fono logamere& fanzacoperationeinfai 
ori:perchen6 ecoperatione dalintinirpalfinitdJ. 
da dio ale creature.Capia beniuoletia dala perfona 
fna dimoftf ado cB la fatica fua jltlo fcriuctc ha efle 
le molto utile agli altti.Captadodlita pche brieue 
mete dimoftra cjHo di che pet tutta la catica trafteta 
i.dei rcrjnoetetno.LA Glofia.Benche fama&glo/ 
ria a nioifi painoquafiqiiel medefimo. Nictedimc 
no fjr.ia c notitia molto fr equcte dalchni^a chofa. 




A gloria ^\ colui che tutto moue 
per luniuerfo pcnetra fiCrifplcnde 
in una parte piu 6C meno altroue. 















Finedilcoraenro di Chriftoforo Landino Fiorcntlno fopra la Comedia di Dithepoeta cxccilcntilSmo 
reuilh&tttiendatadJligc'terectep^t eircuercdo macilro PjcrodaFiginomaefiro inrhcologia " 
ic predicatorc del or dine dc minori & ha pofto niolte cofc in diucrfi luoghi che ha trooato n<2C 
to comcrtcUa giofa. ImprcfTain Vcnetiapct Pieiodezuanncdi quarengiida paUxago bergamalco. 
M»CCCC.LXXXXVn.Adi.XI. oduotio. 



[oQfiadrexcellen/ lE^y^ 
»n:ac3refulotcx Ini^l 



1 36 



L'ARTE DELLA STAMPA 







la,Cd. 



^ 



'497-F 



VENEZIA M.CCCC.XCVII 



15? 




?W«ter 






,^ 



fesi;x 



iCiulii FirnvciMatcmi'IuniorisSiculiViri Clanfrimi sdj 
MauOrtlu LoIlianismFafcibusCapaniar Romans prouin 
dx procofulem dcfigtratum ; per Diuum Carf;ircm Confta ^ 
tinum Maxima Parrocimu dcfenfionisMaihcfcos inciplt 



PROOEMIVM. 



c 




LIM tibi hos libellos Mauort 
dccus noftnim;cciitu5j mc elTc 
protnifera. Vepi me diu in con 
fiatiauerecunderctardauir: & 
ab ifto fcribcndi ftudio dubia 
tirpidatio irie rcuocauit.Cum 
fragilitasingmiimei nihil fe 
fcire talc poflc conciperet: qcf 
dtgnum fore mis auribusiudi 
^ caret Nam cum ei(cs in cam-^ 
paniae proutnci« fafcibus coltitutusrruius tc adminiftratio 
nismeritum maxima honoris dignitateaobilitat; occurri 
tibi rigorchyemaIiumpruinarum:&piolixt itinerisdiueifi 
t3teconfcdus:illictu]angumtis & tatigari corporis mei fe 
nlumenixuses:8(:fidis; SdrfligiofilTimis amiciri« rclcuare 
fomcntjs. Cum itacp ad priftin um ftatum me folatiis ac me 
delis tuis fanitas rf ftituta reuocalTet ; recolcntes inuicem pri 
ftinos a(5tus:& ad memoriam reuocantes:honeftas & uari - 
as fermonum fabulas ferebamus-Pofteao dc talibus ac de|) 
ccffrbus noftris cxjnfabujati fumus; fcmratus nic es[(icat me 
minifti)torius SiciJiae ricum:qaam incolo:&undc oriun^ 



14" 



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Ferdinando Ot^ania Editore 



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'proucrbia 




tCJiicipit Iibcr.piicrbicijim. 
t^CS.JntituIano ifcnbtC: [iibiC ftiUtaa 
tjpieaucUt'rapicpmcdaf-.pbibeCftU'ueat 
i.yck» bUditye.nwerati vgCpc6;i . ctbirt 
top:fj pla dat. I 

^®rabo 

MOtdrraie tfra 
dadrdMijrapif 
tiamioi'aplinS 
adintdtteenda^ 
verbs ptudmtie 
^Rjfapiaidaeru 




iufiiafi aiudtoumi egutC*. tttoeior puu- 
lis alluti3:i adoUrcmri rcienaa -: mtettca 
2fodkn« fapicns fapicnti-n cnr: -j inttlU'^ 
gcrte gubemactUa pilTidcbir. I rMtnedner 
tctparabo^am tmccrpufatimcm vaba (» 
pienmm i emgmata eoajrnJimoj Domini '^f .ti'o. 
punctptarnrapimtieSaptautamattiDM^ Scdi.b 
(trinam ftnlri 9<lpiaont. Tfcdi fi!i mi bifa'' »oilhi>9 
pUnam patrio nu; <! nc CHnuttas lege mFie 
iBCrtaddanirsrariacapitiraoi to:qu« 
colto tacfiU mi T; te lactauerint pcccato:<f :<j 
ni* acqtp'efcae da . Si wrcrint ven\ nobi'- 
learn infid^emor fan TUim abfccHidamoo 
tendioilae contra infonrem froftra ?erta' 
ttamoe cmn ficnt ifonus meet f Cte^jntm 

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VENEZIA M.CCCC.XCVIII 



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[^HtCott tbulU 
qoiDediCfliijie 
pabrnfaccrerer 
mofoie<5 opot- 
tet fieri ciro «(i,' 
^ificauit nutter 
p angdii ftiii ftr 
BO fao to jnf 3 tc 
Ifa'momo pbiba 
Kr«ri)OBfnte. 



tcra fua ftf llai 
dtoe vtracis p-i 

fiOJt fOl lUCvt If 

ettc«l•^indpc 
pofuic scjncrj 
rcfigo fum psi 
ifuimostuus 
lojub^ocljiie 

bicSacraincti 
in ectf era m<3 






ladas 



(efu tpi rcroiiti: 
ffaastacobibim 
i(6iiotopftot 
l«ca»:ii:^ic(\i 
?xierfatie 1 90t» 

ntae iidur;ptiuif 
CbarilTimi; aim 
folUcinidi')^ fad 



^jppbetao'i 
cncch'.ocio.t 
Hue fscere tu 
pioeseoib'i 
pit CQtrut: 1 
ecu percaCM 
^rtilofK^m ot 
rHo^ffh^bi 

bdiCilUtabi 
bit '!'i5l>ie qti 
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Mrbalibti'qne 
fotpfit bflrncb 
lilme nerie fili| 
maafie fili) Tcde 
cbic fill) fcdn fi 
itbcUbiciba^ 
brloiua in dno 
)oito 1 in fcp<i 
maoiemcniifl: 
iQ tpc quo ope 



am in tonfpeo 
fie £):aU ad oc 
peccaounue o 
luefurotaue 
Ctlegitclib)ti 
atari in tiplo 
poimno.iwci 
bioaotpfiifio 
oi iada t biui 
npibuu notln 
nria i pab'iw 
ttonm:i n6 cr-. 





(18 conucrfa 
itce 1 ptopc 
u:p<rqnem 
n» iffua at 
atnooam 
noetinqot' 
nod cfoariiTi 
maai(at<ii 
ini no(M if. 
cm artttR'a' 
noAer pau' 
loajfcnplic 




imtio-.qaoA audi 
muequod ridr 
mue oculio na 
Kris quod p(pt' 
tiWIno: 1 mtnu' 
nf< contrutnui 
mnrocvcrbo v> 
te '! vif^ maiiiA 
natal, ivid»m* 
f icftamnri an 



142 



L'ARTE DELLA STAMPA 







IT 





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CriNCOMENZALAVTILlSSlMAOPER-ACHlA 
MAT A TRANSITO Dl SANCTO HlERONt. 
MO DOCTOREEXCELLENTISSIMOET PRI 
MODE LASVA SANCTISSIMA VITA 
COMINZIAIL PROEMIO 



VEGNANonmcdu 
biro a molto a moke p 
fone clTerc maiiifefto 
il locho douc nafcece 
Hieronymo: & foao q 
Itprecepcori fuflfc cm 
ciico;&iqtjal locho doppo la morte 
tifuofan(itiflimocorpi3 fa fepulto: 
nienredimeno a cui il cempo non ba 
fta a potcremolte cofe legcreruolen 
do queftapicola operetta ciafcorrc 
re porta in brieuc compendio» 
CDel beato Hieronraio la uita & morte intenderc, 

leronvmoadunchefufigliolodeEufebio nobis 
Iehuomocomc:eflbneiruoIibro deuiris i\lii: 
ftrtbusapcrtanieiKedechiara.&nato del cartel 



lilo di Smdone che gia da Gotbi fu diftrutto:che 
Itatra confinidt Dalmatia5c Pannoniafit meriramentce 
iistodeEufebioperoche Sufebio in lingua attica tanto fi 
gnifica quajito in noftro pietofo.Et Hieronymo in lingua 
Colica%nifica in noftra landta lege; laqiialc congruan 
teeDglioladclapietade.Etefl'cndoqftoanchorafanciub 
lo ando a Roraa:& fu pienamet ? amaeftraro de litrcre gre 
ce:hebrce:aclann^.lngramraaricahebcpcr maeftro Do^ 
natoitnrhetonca nebe Vietorinooratorc; cocelTo dechia 
ra ne lal'ua cronlca dicendo.Donatogramatico fie Vi(ao* 
lino rhecorico:furon a Roma mei degni precepron,Poi in 



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L'ARTE DELLA STAMPA 




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VENE2IA M.CCCC.LXXXXIX 



145 




i ^ ^J INCOMINCIA LASVA HYPNEKOTO 

MACHIA AD DESCRIVERE ET LHOKA ,ET IL TEM^ 
PO-QVANDOGLI APPAR.VEIN SOMNO Dl R.ITKO/ 
VAKSI IN VNA QVIETA ET SILENTE PIAGIA . DI- 
CVLTO DISEELTA . DINDI POSCIA DISAVEDVTO, 
CONGF.ANDE TIMOKE INTR.O IN VNA INVIA ET 
01 ACASILVA. 

HY PNEkOTOMACHIA POLIPHILI. 
AVR.OKAE DESCRIPTIO. 



HOEBOIN QVELHORAMANA^ 
o.cheia frontcdiMatiita Leucothea candi- 
cLaia ,foragia dalle Occanc imdc,le uolubile 
rote fofpefe nontlimonftraua,Ma fedulo cum 
^;!g\i i\ii uolucri caballi, Pyroo primo,8c Eoo a^ 
^^uanto apparendo , ad dipingcrc le lycophc 
,(quadrigcdcl!aiiglioladi uermigliantc rofc,uc 
^^lociffiinoiiifcqueiitila,nondimoraua»Etcor 
riifcantegia fopra Ic ccrulee & inquietc undu - 
ic. Ic fue irradiantc comecrirpulauano.Dal quale aducndcio in quel pun 
&o occiduadaiiafckno comuta Cynthia.folicitando gli dui caballi del 

lounocadido&laltrofufco,traheri ad luiti-' 
gli Hemifperii pcructiuta,& dalla puiaftella 
Inquel tempo quadochcgliRhiphari mo-' 
rigidecia pill lalgcnte 8c frigorifico Euro cu 
do el mandauagli tencri ramuli,&ad iqiiicta 
i iiici Sidcbili Cypiri.&aducxaregli plichc 
ti falici,&: prodinare la fragilcabiete fotto gU 




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Fcrdmando Ongania Editorc 



>499-B 



14(3 



L'ARTE DELLA STAMPA 




J 



OLECTORINFOtLIXHOCMONVMENT.ADESDVMTE 
VOCAT ETPOST JNDEROGATINQVOREGfDiT HV 
MANAVOLVPTASVTLEGAS.DVVAC[NISHICAMAN. 
EST.QVIDVDVMMVTVO CVM PRVRIENTI AMO- 
RE INSOLENTER EXARDESCERENTT IMPROBO VO^ 
LVPTATIS IMPVLSVEFFRENI DESERT. CONVENL 

vntinloc.saxa inter dir vta vbietf am for- 
te aedsacrar. mvriconfragosi etsalebrae 
r vin a£ extab ant illo veneri optata mvn£. 
r a ambo solvere arsibiliter vrgeremvr. s v. 
pinaegolopidiaangveminaltvmlapsvmmi 
nitantemviderem.hevoeabincoeptodesine 
inqvio m ic [-ir ys anthe s v rge.fvge en serpens 
vokatvrvs nos .laciabvndvm sese emvro 
prospicio moxille exterritvs svspiciens.o. 
lopxdiainqvitmeaamaboitoviam.fvgetvvl 
am.sinememoribvndvmdraconemimpetere. 
vix svrrexeram hev tristem memiseram 
qvod me vm chr ys a n-me am vit am ad exitl v m 
irRetitvmacangvineastrictimcircvlatvm 
vortvgine.iamiaxmanxie respirantem vide- 

BAM.DESVBITOQ.IVGVLVMMEICHRYSANT.DEN' 
TIB.VVLNERATMORDICVS.TVM SVFFOCARI ME- 
VMCHRYSANT.INTVEORATATPERniNFOEL.MEVM 
CHRYSANT.MOR) SENTIO, STATIM FVRIBVNDAIR 
R VO INSERPENT. CAPTOQ .FVSTEPLECTERE. FESTI 
NO.ASTSERPENSCERVICEMRIXANTEMDIVORTIT 
NEC COACTE COMPLICITVM ABIGEREVALVI , IC- 
TVMTAND.INCAVTE FALLENS CHRYSANT.MEVM 
0CC1DI.1NF0EL1CISSH£VINTERI1,QVIDFECI.-QV]DFA 
CIAM.''TAMMiSERASVPERSTESEl<lTANSERP£T^SET 
EGO/NEOyAQ.SEDHERCVLEOAVSVJMMOLARVA 
LI FVRIA RlNGlBVxNlDA EO IPSO STIPI T . CON VERSO 
IMPETV CADAVERILAPSO CIRCINATAM INBESTL 
AMEAMFERIOATO.NECO.QVIDTVMPVELLAFAC 
TVRAERAMPERDQ-AET EMORTVA.-'MEVM CHR Y- 
fanr. & bellua xnci keleris teftes fcapulii fopiefios i urb.efFeio & lie ob- 
noxia euadere fufpinis-cordolio & laduymis idetide irrorant.fuggdhi 
quend.ifoiopubl.afcedo,acfufpiruldipal<irefado,caretLiarim auiuco 
cujlu ad crudelc ci Luil'um fped.tixaruic.caturn mifeiater nurat.fomina 
icul'anruenere dana't.tcftor I'celui mcu numina itet.iiioco. egia ergo m- 
quies me una cumeo chrvfat.paen-danira fufdpite.nuc ciripai we raihi 
oem adffera,rt dcfperata publico oium alpedtu arieptc gjadpcd" traff. 
ij eiufcficadaOeiehicmcithcmurumulofcpeliudadedi mifemma.Vale. 





VENEZIA M.CCCC.LXXXXIX 



'47 




LA MVLTITVDINE DEGLI AMANTI GIOVENI,ET 
DILLEDIVE AMOKOSE PVELLE LANYMPHA APOLI 
PHILOFACVNDAMENTE DECHIAKA, CHIFyRO** 
NaET COMEDAGLI DII AMATE/ET GLI CHORI DE 
GLIDIVI VATIC ANTANTI VIDE. 



LCVNOMAIDITANTOINDEFESSOELO 
quio aptamentefeaccommodarebbejche glf diuini ar 
chani difcrtando copiofo 8c picnamcnte porefle euade 
re & ufcirC'Et exprclTamente nairarc,&cum quanto di 
ua pompa.indenncnti Triumphi.pcicrinc gloria, fcfti 
ualsritia,dcfoeLcempudio,circaa cjuefte quarro iuifi 
tatefeiugedememorando fpedaminecum parole fufficiememcntecx^ 
primere ualeflfe. Oltragli inclyti adolcfcentuli &c ftipanteagmine di inu* ^ 
mere&periiicunde Nymphe.piu chela tenereciadegli annifuiellcpm- 
dente & graue & aftutule cum gli acccptifljmi ainanti de pubefccntc 








148 



L'ARTE DELLA STAMPA 




jbL ;i£,LiV ENT£ triiipho no mg^o miraaeghoio di prime. ampo 
cheegli hauca leqtro uolubi!eroretutte,&gli radii,&il meditullc ddn 
Ico achatc,di caddie ueulc uagametc uaricato.Nctalcccrtamtegeftoerc 
Pyrrho cu. le noue M ufc & A polline i medio puificc dalla natura ipffo, 

Laxide&U forma deldido qlcelprimo.malctabcllccfaodicyanco 
Saphyro orientale.atomato defcintilliiledorc ,aliairugica gratiflimo, 
& fongo accepdirimo acupidinc neila finiftra maao . 

Nclla tabella dextramirai exfcalpto unainiigtie Matroa che 

dui oui hauca parturito,iQ iino cubilc regio colloca 

ta,di uno mirabilc pallacio.Cumobftctriceftu 

pefaftc.&multe alcrcmatronc&aftanic 

NymphcDcglicjuali ufciuadc 

nno unaflammiila,&dclalv 

zio ouo due Ipccftatifli 

mc ftelle. 







VENEZI A M. CCCC.LXXXX I XV 



'49 




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Jjf- QVISQVIS 



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^CCEDIS.CA VESIAMAS. ^ 
At SI NON AM AS,PENSf C V 
r AMISERQVI SINE AMORE VI 
^''^ VITDVLCE EXIT NIHIL 
'MASTEGOTAMDVLCEANHELANS•^^,^ 

Wmfincavteperdidi.etamor \ 

n^^lT EQVO DVM ASPECT VIFOP W, 
M NyosissDVRVlONlAEPVELLAEvr 
''^^^?VNCVLAE SVMMAPOLYORIj 

\mACEH:ECVPEREM,CASVDE 

''Vl^NS^ES^HAE^^^ 

INTERII- 






.D. 



.M. 



VIATOR. HVCPR.OPIVS FERTO 
OCVLOS.DEINDEVERBAM ECVM 
FACITO.FVISINE AMORE VIVA. 

AMANS HEVMORIOR. 
Die QVAESO.aMABO REM.'MEN 
H VICPOLY ANDRIO DEDI MOR- 
TVAMOBAMORIS INCENDIVM 
PVERIFLORENTISAETATE FOR, 

MOSISS. 
QVlDINSANISfAT AMANS VIVE- 
BAS.PROFECTOCVMNOXIEAMA- 
RECOEPERAM ADVLESCENS 
SPRETO AMORIS M VNERE ABN V 
IT CONTABVI.MORTE RAPTA 

^ HICSVM. 

QVIDTIBIPOSSVM.'" 
NE VIAM ROMANAM CRVDE 
LISPROCVLl AMORE 
DEFVNCTAM MI SERE. 
TOTAMPER VRBEM 
ORBEMQ..DICiTO. 
HOCSATIS. 
VALE. 



l52 



L'ARTE DELLA STAMPA 





.'UiJi'riiLl HYPNEROiuMaCHIA VDl 

HVMANA OMNIA NON NISI SO- 

MNIVM FSSE OSTENDIT AT 

QVE OBITER PLVK IM A 

SG!TV SANEQVAM 

DlGNA COM- 

MEMO- 

RAT. 




VENEZIA M.CCCC.LXXXXIX 

mtfTidacbtldtctionibUdno 

niter addttis in loctero' 

idpoMeqmscacm 

mifraliaimptelTd 

nonbabent: 

' vtpztain 

mbula* 



1 53 




Ferdinando Ongaria Editore 



'499-C 



.54 



L'ARTE DELLA STAMPA 




VENEZIA M.CCCC.LXXXXIX 



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ANCTIffll TRANSIITADSPONSVMTRIBVSEXORNATACORONIS 

Chrifto Gro 




^abcdcighiklmnopqrstuxyABC 

DEFGHIKLMNOP Q^RSTVXYZ 

Scatr*t>3t{>\n U fiiclitaCitade Veneuaiii Cdoi De Aldo Manurio 
Romano ail » xv.Septembrio.M.ccccc. v 

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CX'Ipeobgia vnuificans ^tbae foUcJu^ 






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•jO.^ariflimiie in ^udidia aUromm aibo^ajcn 
deliteremendanim tc 




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Ferdinando Ong^nia Editore 



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L'ARTE DELLA STAMPA 





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ALKHIERi: CAHTOIOPRIMC "————" 

ilmeiioielcamln 
dinoflrttvita 
Miritrouaifcrvna 
pluit o^ctira; 
CheUdiritta via 
ent fmarritO: 
i.t (juatoddir (ittal 

era,ecofidur^ 

E^djeluafdu4g%ia tt djj^ra etfhrie; 
Cfce nelpenfier rinnouaUfaura- 
T antiamariiichcpocoefitimorte- 
M.A fcr trdttdt dtlhtn ,1^1 vi ttoudu 
D'lTodc Vdtre coj?,cfc'i v'bo/cortC' 
1 nonfohenrUlr,corniventxeii; 

Tdnterapien dijomo infu^uelfunto, 
Cl)e Uverdceviddbhandondi- 
M a^ochUfiiialpiedMncolkgimto 
hd.oueUrminaud'^ueUdvalle, 
ChemhdueddipdMrdilcorcompunto; 
G Mdrdainalto\etvidelefuejfdUe 
Veffiu gid it rrfggi delf'urictd, 
Che mend dritidltrui per ogni CdlU' 
A Uhor ^UpdHrdvnpoco<}ueta; 
Che nelldgo del cor rncra durdtd 
L* none ^ch' if dffdi con tantd pietd- 



TttifmoftttAinofi^fHiiicheqfioprmcificntlpnoci 
efferepdtj <tf.« Jfapcifrf oottritu i>eUe to^e chefeguiUn 




1 5 1 2 -A 



VENEZIA M.D.XIl 



179 




:m 



Hibzo Xyd ]^eregrino •flouanic 
re ^mpjcflfocrcdiitto alia 
fua fmccrita con ia vi- 
ta odlo Bu' 
cto:e» 

Qibto niio fe afpcrn^to «? reiccto fojHs^v 

re poterm:!ecto?c»THbnle cifcrminio 

OG Xrota.inolc foitiic oel^oma.lHc 

U erro:i oc ^litc. EOa oc vrio piidi 

CO amoie la biftozia po:to enarro 

l^crbo Iccuro vengo pcrcbe 

amoic e picradc mc raiino U 

lcbo?ta'i€tfc odfcriproie 

parclcintende refpodc 

re poferjfh ^acomo 

jCamcacooallbar 

maftdelcrcdra/ 

tc>:e viucT valC" ^tcomc iiitefc fcripfc. 




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Manfredus Bonum dt Montis Fcnste, 




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L'ARTE DELLA STAMPA 




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i^,f abii 0aintitom o^atoriamm infti 
tnrionum.^nacu annotationibus 
i^apbadis Re^im ocpja* 
nationcs dttfdeni. ^t ta* 
butoperalpbabc* 
mm rioaiter 
addita* 





I5i2-C 



VENEZIA M,D.XIII 



i8i 



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CSecuda pjrs opens diiicx pa(Iion«& refurreclio, 
nisdic idagat^& mdaroyj fug hocargumetaconfutat, 

Tfi multa funtargumcnta, 
quibus iudzi magium no 
bis calumnia folcnt aftrue 
re,& fidcm fpcratz a nobis 
rclurreftionis ftulta garru^ 
Urate deridere,inhac tame 
lucubra'tiunculanoftra ea 
duntaxat confutare aggrC' 

^ dicniur,quac dominie* paf 

flonis SI. refurreftionis materiam concernunc.Solet 
nana obftinatum illud , & feruilc ludarorum pecus 
in Chrifti (aluatoris blafphemiam exirc propenfiius 
Siin chnltianommcalumniam infulcare audenctus 
& confidentius, quia legis noftrx munimenta non 
pauca ex auita ipforum religione mutiiati fumus 
ea praccipuc,qua: agni pafchalis typOjdomiui paffio 
nem figmficabant:quo fit ut perperam interpretan 
tes Icgem,& diuini facramenti myfterium contami 
nantes^ihultas indies calumniasiiobisinferre node 
Maut,nunquam cauillandi finem facientes:adeo ^ 
c5tinuisfubfanationibusnos lace(lentcSj& fingulas 
obferuationes noftras deteltares peqjetuis ipfo^ c6/ 
tumeliis^atc]^ conuitiis (imus obnoj^iimon folum in 
pafchac celebratiojie obfcruationcnoftram ludibrio 
maximoc^ opprobrio ducentcs(de quo fuperiori lu 
cubratiunculanoftra fCTiplimus)uerri etiami dfiice 
pafGonis myfterio ruditatiSj&ifciti.'cnos ilimulates 



11 






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Ssrcgoxmtn t>e ^rcsoihMnnc^ni vS>.t>4<n 



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VENEZIA xM.D.XIV 

PELIMVS 



\S3 



mmm^m&mmmA 



AMBROSILLEONIS.IN.LIBELLOS.DENOLA. 
PATR.IA.AD.ENP.ICVM.VR> 
SINVM.PRINCIPEM.IVy 
STISSIMVM. 

PRAEFATIO. 



M N E S homines Enricc Princcps uehcmcn> 
ter optant:mirif)ccL|; ni'tutiir: ut patriam:ta ope 
futnma iuuct:g omni ofticio:ucncratione:ac pw 
etatc profcquantur.Can'naq; funtfiliucari pa> 
rentes: can quincdam:atcp '""" 

omnium tamen patria una 
N5 folu enim patria parenti j 
munera:quxa parentibus^ 
contuIifTe uidetur: uerum c 

bis alia copcritur prsftin'fls.ueluti roIcm:atthcra:hi 

cum<rnta;mores:nomcn;facrctaces:clomos:at4;alimi 

xibusCraul fe bcnignam atqp fuauem oflrndrnfimt*! 

fecum coniunxitjut fiqui'd facto df (floue fiue alii fiu( 

bencmercntcsn'd omne aeque ac nobis ipfis accefleri| 

fummopere gaudcamus.Eamftbrein combufta diru i| 

ma Fu.Caraillus ardeti aio:cura;fo!icitudine ab iter '■ 

rauitjadauxit. AlfonfusiteRex Aragoneus fccunc 

Parthenoocn patriS: q iaptide aptappeiatqj angufl 





yi »ii!nj3jiimi]j| ti»?i^lli l8^ 1HiH»i»^^^«i»lll 








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pocali 

pfis icfn 

cbjtfticboceftre 

ftncto giob^nni 
cimsclift^. cum 

nouaejcpofitionetinlingiiavolgareco/ 
porta per el reuercndo tbeolocfo t aiige 
lico fpiriro fiate ]fftdcrico verietoQ y 
diniepzedicatoium: cii cbiara'Diliicida 
tiom a tutti foipaffi: cofa vtilifllma. 
J mp^elTa p mi alaandro t>e pacjaiuni. 
inq:eneria. fub \mniifu t)uce n *^o 
iiamolauredano. O urn gratia. 

^I eiJderrcfop2alanuat)clicarboni. 



i5i5-A 



VENEZIA M.D.XV 



1 85 




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L'ARTE DELLA STAMPA 

CNICl^ VIR.I IILVSTRIS VITA EX PLVTARCHO GR^r'CO 
NVM PER. GVAR.INVM VERONENSEM VERSA . 









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tuifrcptrhibttur : g cu Th 
uitate ac vehcmc tia f»ci!e 

t.,ji », T • ■ r f«pr? ft ferret :atPbd((li'! 

fudis & in^H fcriptons afp^rnaretunin his prxkitim qust ab dlis ornate cDpiofttp 












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0i«|?cmartcam5OifcipIinaru5amto:fe:IK>^bcnr!n \)0c voiumi 




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omiliario qua 

4r^scfi«nak. i^ondaro t>e vcrbo ad t>crbum 

in Ic £piftolc 7 £uagcHi ft como coirono 

ogni Di fccondo lo oidmc &c la Ho^ 

manaii)iei'ia. '^ouamcncc 

3mp:cflb. 



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NOTA 

^TVTh:LEI.EC£N 

OKETINSTORIE 

.HESAP.ANOMESKAl 

SO) LOCHJ AVEKAt^JO 

VNO PAP.AFO DAVaN 

riCOMOOVIAPARf 

JHDESSGNO 



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NOT A 
^TVTELELECtN 

JotETlN^rORie 
^onte d anovoche 
pivnonesta stan 
padeavbr^novna 

mandavanticho 
mo q vi apare 

IhlFlCVRA 



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RIODE- SANCTl 

NOVAMENTE 
STAMPADO 



NOTA 
I'VTlPRINClPIDi^ 
LIBRlAVRRANOEr 
SVOFRISO KTLATA 
BVLASARAALIKCONl 

traordenada amo] 

DO DE CHALANO. 
RlOCOMOl'OTRAl, 
VEDERE 



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kota 

^^CHEQ VESTA OK^v 

^'^RA SARA PaRTJDA^, 

f/NQVATORDCSK LI/3R , 

'PRIMODEI. ADVENTO 

DEL SIGNOR LI L>ODF 

XEMKSIOELAMQ 

ETLA ,SEP7 Va 

GIESIMA 



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plNCOMINCIA EL TERCO LIBRO CHIA. 
MATO LEGENDAR[0 DISANCTI DE LE 
FfiSTE CHE OCHORERA PERTVTO EL 
MESE DE ZENARO.ET PRIMO DELLA CIR 



CONClSlONE DEL SlGNOR 



.CAP.XXI .B 

Vatro cofe fijno cfler 
folemne Si celebre el 
giorno della circonci 
fionc del fignor nop 
tro miffier.lefu chriC 
to. La prima fie lo<lla 
ua fua.La fecoda lin, 
poficioe:delnouo&: 
falutitero nomc - La 
terza el fpargere dtl 
fangue.La quartaieL 
fignaculo della circo 
cinotie.La prima du 
quclo<flauadeIana 
tiuita fi cPrto lo(flauc 

de lialtri fancli folemne fen quanto magiormenrefara moL 

to piu folemne lodauo di del fancfro di (andli ma cj pare che 

la natim'ta del fignor non debia hauer ocdaua impcrho chc 

la natiuita fua tendeua ala 

ha lo<f>aua imperho rhe ai 

laquallc e ha loro uita ctci 

glicorpigloriofi per quel 

che la natiuita de la beata i 

qucila de.Ioanne baptiRa 

imperho chc quella gia fa- 

re che chome dice prep ofi 

roento come e la odtaua d( 

fuplimo quello che fado i 

lofficiodella parturiente u 

paflfato fi folca cantarc, Vi 






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VENEZIA M^D.XVJII 



195 






PARTE DEL PROLOGO 

Xpediti oelit it&e occiucte in&a cl tempo is pat. 

tefcconacnefottocl tempo della [ccoodlunone 

.. . partt fottol .Tempo dflia pcrfgrinaticnc clqual 

conpo l3 chiefia tepicfenu dclla tutiuiu innnoalla ftptua. 
gcfima.Secjuia a uedtre dcllc fcfte cccurf ntt intra el tem- 
po del!.. dr"<itione elqual tempo incomicioad.AdatnK CO 
UDUO liinoa.lvloyfcac lachieJia reptefcta qudlo tempo d» 
iarepn'sceiimainfinoapafcha: ^, 

DE LA SEPTVAGESIMA ^ 

Jgnifica b Icptuagt 
luuad tempo delta 
dciuanonc. Lalexa, 
gdima tigiuhcbacl 
UmpodcUa uiduati 
one Sigoitica la qui 
qua gclima cl tempo 
deila remiUioDcLa, 
quadngdima . 5L I 
goitica cl tempo del 
u ipiritual pcmten, 
tia .tacomiciafi adtL 
que la icptuagcfi. 
ma da qucUa domi. 
mcha oclaqualfeca 
ta.Me circcndano:* c.Et fitiiffe clfabbato dapoila pafcha 
Per treragicnefu inftituita la.Sepiuagcfuna ccrticfi tioua 
tielb fumma del <^cio di maoftro.joahnc bilcih cioc per 
smcrcdelLiredrouioneiielaqual crdJuoionolipatti chcfe. 
prefe bauefleper gionio(oloniii*.& ctltbre:laquinia fena 
« he e el gieuedi per la uenf tationc del giorno de la fantilf ma 
Afctfiene nelqualgicicocflo ncfiro.^iguw.lcJu.ChriHo 
effrtidodellanaiurBnoflra falialicicli&lu J ubiimato fcpra 
li angeliei cbcri K in tallegictno iionfuflc cbfciuaio el iciu, 
mo eflrodo cuellogiorno nella primitiuaebiefiaequalmmte 



Ui 









L'ARTE DELLA STAMPA 




VENEZIA M,D. XVIII 



'97 




'31 ® ccamcroe oc tneflcr 3^10 

u5m:&ocaccio nouamcte 

ft^mpacocontretio^ 

iielle ^sdintc. 



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Cyriflfb £mmco l^oflal 
mcnteSSt^mparo con 




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►< fcrii.iH/ifc fl d BM<j». 

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ii|ma.«Cc 

In7il<. VSIicn^ iiSvjttif 
iJ^i .nt ftrtipa. u (ojup» 
IT! Thiion fptriin! brxHi 
3B Utit (rat in rinKipi« 
tmuu f rnn;Tr:f In l<{iv 
kUcfO^ titniBMtHlft,. 





XjKfHtedAftirnca 
r<e.g<liiniMa <un tih*: 

bu nin • 

Ciamui 
(nnnnclfe 
Wiltinta 



Mtokk.a. Z>Atad<diu' 



MiKlui mc Aitmi. 6 Da. 
•fAZItrisCipi/K* Drm. 
J^vrltM adiitim* M 

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j0Si(la{e "Romanu nouitct ip<c uf, 

en annotationibus m marginc 

adfacilltme oiaqut: npfo ad 

aliad paaina6 reinutumr 

inuenieda: £tqiui alicui» 

fancii milfaiperfccta e: 

notatimeiocuevbi 

inqu'Tioebeat.'Jii 

fupcr cp figurid 

fcftitiitatujiiac 

cuangelioyinitia eroznanti/ 

bua iuirtamafena rotcnta oV 

Itgcnnirinie accommodati^ 



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A VLI FLAGI 



'0irfij ©atVTogriipbi Cliriirmu 

opiiy cn]cnci4rum . '5nrcrp:crnnn 

but^ Joanne 58ijptifta riMiuitio: 

Co:nu!roq5 ilM?ilofopl;)o:ciu0 

Tl>:accepto:e:iiecnd 9o.iimc 

26nwi«co :i3?M:iimo:nc '^nr 

rlpolomeo yoiino : virit^ 

erudiritrunis3:cuni (\m 

%urit^:'rvt{Uirimit? 

Bpomiiit^^nlu. 

per ililpl?i»betica 

:gI^*ibuU:iuipei 

appofiriirqimc 

omnia fdm 

v>igna niirifice conipkctiriir, 

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3LOiimo:oro Couimooi Bait^ 
tcxow l^ addirioncrlBoua^ 
mcntcftkimparo. 








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tiesbeSabio. M.D.XXl. 

menfp Martio. 




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G^?nn3ri^l'rafc^onll'nr:lihpt^mazIfe»«Ta*0raru> ad 



i0mma0 Wrft adtfie / films 




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meuB cotiut'go bodic ge/ 

noTtc^, laoarc frcnmcruc gen/ 

tc9:T popniiitied Jtad.rnnc mania* 

j^ ^lo2<3 patri % fiUo* i02anae 

i6tt6qti< \>mc facraritu 

ma nocrc / wri laininiie 

iUnftraociiiecIarefccrc: 

oaqttcfamnstPtcmae incie 

mvffcrta/ftiferracognoatmaeteiaeqaoqjgaudtje 
t'licelopcrfrnanmr* laoi tecum viaCt 7 regnar , 7C. 

Heaioepittolc bcaUpauti^poftolt'.Sldrirrim. cii* 
/^ ^ariflimc.^pparmi 

\Jl ftnVoibttsbomtniba 
gaiuc0ipi'ctatc/i fecnlar ia 
7 pie pmamua in hoc koxV 
7 adaentn ^loiie magni t)e 
)cpi.am tjedit femeri*pfn5 1 
rer/abomniiniqtjifare:7 ir 
ceprabilem:rectaf 02em bo 
re 7ejcb02rare/in cbiido iel 
03 ecti piindpia ^n Die virradd 
vrero /ante Incitcraj genni tc^ 
ocrtris mete:t)onec pona in<ml 
Jlfllh^?. a^fiBDiritadmc/ftUi 

TRiIlorpcȣjcqredicti 
fcnberet" vnincrfuec 



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armomcei&uricc0 
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fern If ojofe 10 f cbiaartjXd prirmcgio muff ri(r(m((Dom(t)<i 
ileneriaiumcp ntillus f ofrtt cantum fSyorarum impnmtre 
fub pena (n ipfo pitmlfgio contenia. 

««0flh-u3 a38£D£f j6H?5(RtdbinCll^£liaS£ClJ 
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Ferdinando Ongania Edjtorc . 



2.0 L'ARTE DELLA STAMPA 

LODA DELLA MVSIC;i 

OLTI 

ct antichi 
Ic lode dc 
curaaqui 
raccomar 
lakra opei 
monicad] 
Per la qua 
parlafli,rc 
fato per qi 
uicta cfifct 

^ Nondim( 

no e ftato dcttoCchcio fappia_) faluo in greco,« 
nuouafetica,penrando,che niunalGuia mi fia b 
ferifco brieuemeatc alcunccofc in comcndaboi 








EL TERZO LIBRO DE I MADRIGALI 

OIARCHADELT.ETDI ALTRI ECCELLENTISSJMi 

Auberi.Con la^ionm iea'.tHm t-Uirigali a Voti mmettitllijjsmu 

A Q.VATTRO V OC U 






LIBRO TER20 




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Ajjo icM fon K> UJfo iout fan io oims cime (hs 



A0itCet mejio nonfuaUun n che ricenhi il iol» mio oime <mt io* 




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Oinontnitmat*eth^uriropfcuamo trfe niamA /fe com Amor iouta 




IN VENETIA NELLA STAMPA D'ANTONIO GARDANB 

NE L'ANNO DEL SICNORE M. D. XXXIX MEL MESE DI MAZO CON PRIV!LBGIO 

thtntjjiifio po(jafl<mptr ntftr jlsrnfar ditte operenetltroueilampau^olftmeejjirt teniwt nt'^niutt qui ntinaitro 
hugo it qutfto llii^riffmo iommo (on ptna ii ptriirt mttt I'eptrt (srpagtr ducaii, too, udamt uolla che ft 
troutramo it iiae opert toft qMlliflampaJftnp o coniHttJjino e uero Mnieffena Uqiulpttia i i* effir iUi 
ft iiutii fo.t larftiul iiu. so. tUiujaior iuuti, loo, alt Signori it notte ftrfttr talt txttutjotu* 




214 



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L'ARTE DELLA STAMPA 




^ndim rcgma iiergencponceUa 
©el mondo fpecbio fd ^cnetia bcllal 




I 



BINDINGS 




For the ben- 
efit of indust- 
rial art, we 
have collected 
together in 
these pages 
some speci- 
mens of bind- 
ings belong- 
ing to print- 
ed books and 
manuscripts of 
the 15th and 
l6th centuries. 
These bind- 
ings, although 
they were the 
product of an 
age famous for 
the art, were 
for a long time 
altogether ne- 
glected. But in 
reality they 
form a class by themselves, and fill a noble 
page in our artistic history, notwithstanding their 
comparative insignificance. Even in ancient times 
we find traces of the binding of books. Among 
the Greeks and Romans the roll of papyrus upon 
which the characters were traced was enclosed 
in a case, frequently made of valuable wood, 
with the title of the document or work on the 
outside. It was only at the period of decline that 
the leaves of papyrus and parchment were pla- 
ced one upon the other and fastened together on 
one side, covered with thin slips of wood 
joined together, and decorated with ivory carv- 
ings, plates of gold, leather, or other material; 
thus provoking the complaints of St. Jerome 
who lamented the custom of clothing volumes 
in gems while the poor were going naked. But 
even at that period leather was the material 
most frequently employed for the binding of 
books. The hide of the o.\, stag and other ani- 
mals was used, and, in general, dyed red or 
black, and burnished with a sjjccial tool. The 
binder arranged the sheets in order, beat them, 
stitched them, and re-stitched them together into 
the back, turning the ends upon bands of lea- 
ther, which thus formed a relief, which is found 
in most of the old bindings and in all the mo- 
dern ones. He then cut two small boards, slightly 
larger than the volume in its present form with 
its margins cut, and placed them on the two 
sides. At first the back was covered with plain 



leather, leaving the wood bare, but at a later pe- 
riod, by turning over the leather, the entire sur- 
face of the boards was likewise covered. One or 
two metal clasps served to keep the book closed. 

In the fourteenth and fifteenth centuries the 
leather drawn over the boards was ornamented 
with blind tooling, executed with iron or wood- 
en, implements and reproducing stars, lilies or 
ornaments, either sunk or in relief, according to 
the tool employed and the character of the pe- 
riod in which they were executed. During the 
Renaissance, when books were greatly multi- 
plied, and when, in their arrangement in libra- 
ries, they began to be placed on the edge instead 
of on the side, these ornaments also appeared 
on the back of the book. 

The metal clasps of which at first there 
were only one or two, constantly increased in 
number in consequence of the tendency of par- 
chment to give way and roll up. These clasps 
fastened on with hinges, or with bands of leath- 
er and ribands, which went round the volume, 
were made of iron, brass, silver or gold; in 
the last case they were often adorned with pearls 
and precious stones, and at the same time velvet 
was substituted for leather. Special punches were 
used to impress various kinds of ornaments on 
the brass clasps, such as small figures, shields, 
initials and sacred legends in infinite number. 
The angles and centres of the bindings were of- 
ten decorated with plates of the same metals sim- 
ilarly stamped, sometimes in high relief These 
were occasionally replaced by large bosses or- 
namented with stars, grotesques, lilies or large 
roses. 

Binding however is an art, of which the 
utility is perfectly evident. The student therefore" 
experiences a genuine satisfaction when be suc- 
ceds in possessing the works of his favourite 
author secured in a handsome binding, thus ho- 
nouring them with a species of veneration. 

This feeling appears clearly in the splend- 
our of the bindings of books executed at the 
revival of the arts. Although the use of the pre- 
cious metals was continued for the ornamenta- 
tion of books intended for divine service or for 
princes, the bibliophiles of the renaissance gener- 
ally knew how to obtain from leather real master- 
pieces worthy to stand beside those of more 
noble material 11). With respect to the leather 
jtself, it was prepared in the East and in Spain 



(1) The plates which illustrate this article reproduce 
some bindings from the R. I'iiblioteca di S. Marco and from 
the Museo Civico of Venice. 



218 



for use in wall decoration ; was stamped, pain- 
ted and splendidly gilt, and then brought into 
Italy for use in the houses of the wealthy. 

It appears that Venice was the first city in 
which the ciioj d' oro (,gild leather) was pro- 
duced in imitation of the East and of Spain; and 
it is easy to believe it, if the extensive commerce 
of the Venetians with the Levant be taken into 
consideration. The East, a master in work of 
this kind, bound its sacred books in richly orna- 
mented leather. Thence came, doubtless, the idea 
of decorating Italian bindings in like manner with 
gold and colours ; and thence, 
later on, the marvellous pro- 
ductions of the French. 

Then began the addition 
of ornaments in gold tooling 
to the leather which had 
hitherto been simply blind- 
tooled, and the forms became 
more elegant by the use of 
the piccoli ferri or fine tools, 
combined together with mu- 
ch skill. Besides this the lea- 
ther was also covered with 
shields and emblems, to 
which the work of the painter 
was frequently added. After 
the models produced by Al- 
dus Manutius and his Italian 
contemporaries, Jean Grolier, 
the French bibliophile, caus- 
ed those wonderful bindings 
to be executed, which are 
now the greatest prizes of 
collectors. 

As years went on, the taste for the richness 
of polychrome decorations increased. This con- 
tinuous imitation of the East helped to perfect the 
methods of binding. Leather was dyed black and 
then boiled, in order to soften it, and afterwards 
worked a fer chaud, in very low relief, leaving 
the ground dotted; and brilliance was then given 
to the whole by the use of certain varnishes or 
of albumen. This method was also applied to 
coffers, boxes, bucklers, powder-flasks, scabbards 
and a quantity of objects which have survived 
as genuine works of art. 

The binding of a book in gilded leather 
continued to take a more singular and pictur- 
esque appearance as the sixteenth century advan- 
ced. The leather was soaked and pressed with 
special moulds, or worked with geometric de- 
signs in relief, so as to form, as it were, the re- 
production of an incrusted ceiling. In this case 
the surface of the leather, after being prepared 




with plaster, was smoothed and burnished; then 
it was painted in the most brilliant hues of red 
and green, upon which flowerets and mazes in 
the oriental style were finally traced. So conspicu- 
ous is the oriental character even in these pro- 
ductions that the East must be regarded as the 
first producer of all these elegant and exquisite 
models of art. 

The method of stamping also became mod- 
ified in the course of time. The leather some- 
times only served for the back of the book, or, 
when carefully engraved, formed the reliefs of 
the incrustations, a ground- 
work of mother of pearl 
being placed beneath it. 

This work is justly called 
alia Ve)ie:;iana, seeing that 
it was constantly used in Ven- 
ice during the sixteenth cen- 
tury for the bindings of the 
most important documents 
of the Republic and of the 
statutes of her artistic and 
religious corporations. 

Such bindings belong to a 
period, of art, already suffi- 
ciently magnificent, in which 
another kind of binding was 
brought to perfection, name- 
ly that a pelits fers, which 
arose at the end of the fif- 
teenth century, and acquired 
great renown in Italy and 
France during the first half 
of the sixteenth. The leather, 
coming for the most part from 
the East, was prepared with a variety of dyes, 
and stretched with great care upon thecover of 
wood or cardboard; then the little iron punches or 
tools, reproducing thousands upon thousands of 
ornamental designs, impressed them in gold upon 
it, so that the cavities being thus filled with gold 
leaf, the work might resemble a goldsmith' s. 
Bands and small pieces of coloured leather 
were frequently applied, and were worked in va- 
rious fashions, giving to the binding all the ap- 
pearance of an enamelled plate. 

In these works of art which retain their 
characteristics even in the early years of the seven, 
teenth century, are reproduced the bold lines- 
spirals and cartouches of the debased style, which 
led shortly to a decadence of the binder's noble 
art. Only for a brief moment, at the dawn of the 
seventeenth century, during the reigns of Louis 
XIV and XV ditl it appear to wake up again, and 
strive to renew its ancient triumphs. 



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VENICE M.DCCC.XCV 



Venezia 1895. — Tipografia Emiliana. 



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